THE 


IROGRAFIK  TEECHER. 


ADAPTED    VOU    L 


TICXT    150  OK    IN- 


COMMON  SCHOOLS.  HIGH  SCHOOLS.  ACADEMIES, 

AND  COLLEGES. 


"  It  would  he  mailings  ami  :  se  that  tilings  which  have 

never  yi't  IICCMI  pcrlovinL-il  van  be  performed  without  emr.ioying  sonic  liitherto 
untried  means."—  Lonl  linc<»t's  ".\- 


By  JOHN    BROWN    SMITH, 

Author    ol'   "Tin  niiij,"    ETC. 


SECOND 


AMIir.IIST.     MASS.  : 

PrULISHED   BY   J.    B.    AND   E.    G.    SMITH. 


THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


\ 

UW.YER 
.  AS,  TEXAS 


THE 


KIROGRAFIK  TEECHER. 


ADAPTED  KOK  USE  AS  A  TEXT  BOOK  IN 


COMMON  SCHOOLS,  HIGH  SCHOOLS,  ACADEMIES. 
AND  COLLEGES. 


"  It  would  be  madness  and  inconsistency  to  suppose  that  things  which  have 
never  yet  been  performed  can  be  performed  without  employing  some  hitherto 
untried  means." — Lord  Bacon's  "Novum  Organum." 


By  JOHN    BROWN    SMITH, 

Author  of  "THE   STENOGKAFIK   TEECHEK,"   ETC. 


SECOND    EDITION. 


AMHERST,     MASS.  : 

PUBLISHED   BY   J.    B.    AND   E.    G.    SMITH. 

1878. 


Entered  according  to  Act  of  Congress,   in  the  year   1878,  by 

JOHN  BROWN   SMITH, 
In  the  Office  of  the  Librarian  of  Congress  at  Washington,  D.  C. 


ROBERT  A.  MAUSII, 
PRINTER, 

Amherst,  Mass. 


J.    H.   KKLI.Y, 

ENGRAVER, 
Springfield,  Mass. 


BOSTON  TYPE  FOUNDRY, 

KLKCTKOTYPEKS, 
\o.  104  Milk  St.,  Hoston. 


INTKODUCTION. 


The  appreciative  reception  extended  by  some  of  the  most  pro- 
gressive and  best  informed  writers  of  the  old  short-hand  systems, 
M    to  the  first  edition  of  the  imperfect  and  hastily  prepared  small 
fc[J    pamphlet    issued    under    the    name  of   the  "First    Fonakigraflk 
Teecher,"  has  insured  its  existence  as  an  established  aggressive 
^    system  of  writing,  which  aspires  to  supplant  the  cumbersome  long- 
^   hand  script,  as  Avell  as  the  old  imperfect  systems  of  short-hand. 

In  naming  the  new  system,  the  author  followed  in  the  footsteps 
of  the  authors  of  one  hundred  different  English  Stenographic  sys- 
tems, who  have  selected  a  special  name  to  designate  the  most 
5    prominent  feature  of  their  special  system.     A  more  extended  expe- 
gl    rience  and  investigation  of  the  past  history  of  Stenography,  has 
•g:    impressed  the   injustice  of  such  practice  upon  the  mind  of  the 
'    author.     In  truth,  it  would  be  rightly  considered  as  utterly  pre- 
sumptuous, for  any  person  who  may  have  made  additional  discov- 
eries in  any  of  the  established  sciences  or  arts,  such  as  Geology  or 
g    Sculpture,  to  insist  upon  appropriating  all  the  past  labors  of  his 
5   predecessors,  in  building  up,  under  a  new  name,  already  established 
sciences  or  arts.     To  aid  openly  or  silently  in  perpetuating  such  in- 
justice oil  the  rights,  labors  and  honors  of  the  glorious  old  pioneers 
of  English  Stenography,  is  a  thing  the  author  can  no  longer  aid  or 
countenance  in  any  manner  whatever.     Hence,  as  per  a  previous 


448438 


2  INTttODUCTION. 

announcement,  the  Literary  style  of  this  system  shall  be  known  sim- 
ply as  Chirography  (Kirografy),  and  the  reporting  style  as  Steno- 
graphy, (Stenografy). 

The  author  has  endeavored  to  supply  a  long  felt  need  in  England 
and  America.  The  English  speaking  people  have  suffered  patiently 
for  generations,  because  of  a  barbarous  orthography.  The  time  has 
now  arrived  when  the  teachers,  of  both  England  and  America,  are 
ripe  for  changes  which  shall  go  to  the  bottom  and  reform  our  sys- 
tem of  spelling  in  our  Common  Schools,  High  Schools,  Academies 
and  Colleges.  Tiro,  the  father  of  short-hand,  who  lived  in  the  days 
of  Cicero,  did  not  live  to  see  it  introduced  in  the  public  schools ; 
but  after  his  death  it  was  further  improved  by  Vipsanius,  Philargy- 
rus,  Aquilla,  and  Seneca  the  philosopher,  and  introduced  into 
schools  by  the  practical  Romans,  where  for  centuries  it  was  taught 
as  a  branch  of  study.  Can  our  people  afford  to  be  less  practical? 
The  success  which  has  attended  the  introduction  of  Stenography 
into  the  primary  schools  of  France,  in  teaching  a  phonetic  orthogra- 
phy and  enunciation  and  in  teaching  deaf-mutes,  has  been  remarkable. 
In  England  and  America  there  has  been  marked  success  in  the  same 
direction  wherever  the  attempt  has  been  made.  Experience  has 
demonstrated  that  children  can  acquire  the  rudimentary  elements 
of  an  English  education  in  from  one  to  two  years  less  time,  even 
where  the  clumsy  expedient  of  diacritical  marks  arc  resorted  to  for 
teaching  a  phonetic  orthography. 

Teachers  and  parents  will  readily  appreciate  the  great  practical 
value  of  using  a  Kirograflk  or  Literary  style  of  writing,  which  is 
founded  upon  a  Stenographic  alphabet  for  the  purpose  of  teaching 
children  a  phonetic  orthography  and  correct  enunciation.  Its  value 
cannot  be  overestimated  in  aiding  children  to  acquire  a  correct 
pronunciation  of  their  native  language,  and  also  foreign  languages. 
The  most  important  point  that  can  come  before  teachers  and  school 
boards,  will  naturally  be  to  arrive  at  an  intelligent  decision  in 
regard  to  the  real  merit,  for  this  purpose,  of  the  various  systems  of 
short-hand.  This  question  can  be  determined  by  a  few  simple  tests. 
The  system  of  Kirografy  employed  for  this  purpose,  should  be  en- 
tirely devoid  of  all  Stenographic  contraction ;  it  should  have  simply 
an  alphabetical  basis  of  a  simple  sign  or  letter,  or  each  simple  or 
compound  sound ;  the  vowels  and  consonants  should  be  regularly 


INTRODUCTION.  6 

interpolated  or  inserted  in  their  natural  order,  as  in  the  com- 
mon script;  the  system  should  be  devoid  of  shading  except  for 
ornamental  purposes,  or  it  will  be  illegible  when  written  with  a 
pencil,  and  the  vowels  or  consonants  should  never  be  pointed  in 
laterally  (inserted  afterwards)  as  it  is  a  damage  to  speed.  The  sys- 
tem presented  in  this  manual  is  the  only  one  now  in  use  which 
fully  meet  these  essential  conditions  in  every  particular.  For  a 
more  complete  examination  of  the  subject  the  reader  is  referred  to 
the  following  review  of  the  leading  Stenographic  Alphabets  of  the 
world. 

STENOGRAPHIC    ALPHABETS. 

The  Stenographic  systems  of  the  world  may  perhaps  be  classed,  for 
the  sake  of  comparison,  as  resting  on  four  entirely  different  funda- 
mental ideas,  principles,  or  lines  of  thought,  viz  : 

1.  The  first  line  of  thought,  dates  in  origin,  back  to  the  begin- 
ing  of  human  drawings  on  sand  or  bark  to  represent  objects  of 
nature.  Its  history  is  seen  in  the  hieroglyphics  of  the  ancients, 
and  its  developement  has  given  us  the  common  long-hand  script. 
Another  stage  of  developement  began  about  63  B.  C.  when  Tiro 
invented  the  first  Stenography  and  made  an  approach  toward  the 
geometrical  basis  for  signs  or  letters,  but  still  imitating  the  com- 
mon script.  Gabelsberger's  German  Stenography  is  perhaps  a 
leading  exponent  of  the  modern  development  of  this  principle. 
2. — The  second  line  of  thought  centers  on  the  idea  of  having  mathe- 
matical signs  the  same  shape,  but  light  and  shaded  for  cognate 
pairs  of  sounds.  Pitman's  English  Phonography  is  the  leading 
exponent  of  this  principle.  3. — The  third  line  of  thought  centers 
on  the  idea  of  having  the  pairs  of  cognate  signs  the  same  mathemati- 
cal shape,  but  long  and  short.  Duploye's  French  system  represents 
this  principle  to  a  great  extent.  4. — The  fourth  competitive  system 
iu  the  World's  market,  centers  upon  the  principle  of  having  cognate 
pairs  of  mathematical  signs  the  same  shape,  but  written  in  the 
reversed  direction.  The  new  Stenography,  of  which  the  author  is 
the  inventor,  is  believed  to  be  the  first  system  ever  built  upon  this 
alphabetic  principle.  We  will  briefly  compare  the  three  old  founda- 
tions for  systems  with  the  new  innovation,  as  follows : 

1.     Taking  Alfred  Geiger's  Stenography  (an  adaptation  of  Gabels- 


4  INTRODUCTION. 

berber's  Principles  to  the  English  language)  as  a  good  specimen  of 
the  first  alphabetic  basis,  it  is  found  that  the  alphabet  is  con- 
structed upon  the  basis  of  the  common  long-hand  script  with  cir- 
cles, hooks,  dots,  meandering  lines,  loops,  slanting  strokes  and 
waving  thin  lines.  The  new  Stenography  on  the  contrary  has 
mathematical  simple  lines,  curves,  loops,  circles,  strokes,  hooks 
and  waving  thin  Jines.  There  is  an  absence  of  shading  in  both  sys- 
tems. The  Gabelsberger  alphabet  has  a  number  of  coumpound 
signs,  but  the  new  Stenography  has  none — all  being  made  with  a 
simple  mathematical  movement.  Gabelberger's  system  is  not 
strictly  phonetic — the  new  Stenography  is. 

What  appears  as  the  strongest  point  in  favor  of  Gabelsberger' s 
system,  is  its  capacity  for  adaptation  and  use  as  a  Universal  Euro- 
pean Stenography,  to  a  certain  extent  at  least.  This  advantage  may 
be  secured  in  that  system  by  conformity  to  the  foundation  upon 
which  it  is  built,  viz :  by  writing  similar  words  in  the  different 
European  languages  with  the  same  outline,  as  far  as  it  is  possible 
to  do  so  on  account  of  their  different  orthographies  and  variable 
prefix  and  affix  terminations.  This  desirable  advantage  has  been 
entirely  overlooked  and  consequently  unprovided  for  in  Mr.  Pit- 
man's Phonography  and  all  is  reduplications  and  differentiated  re- 
duplications in  America — they  can  never  aspire  to  the  position  of  a 
Universal  system  for  Europe  or  the  Aryan  family  of  languages. 
The  new  Stenography  (the  reporting  style)  on  the  contrary  has 
been  developed  with  this  view  in  the  mind  of  its  inventor ;  conse- 
quently the  principle  has  been  introduced  of  writing  the  prefixes 
and  affixes  of  compound  words  with  uniform  signs  according  to 
their  meaning.  The  reader  will  perceive  at  a  glance,  that  if  the  pre- 
fixes and  affixes  of  the  whole  Aryan  family  of  languages  are  written 
with  uniform  Stenographic  signs  according  to  their  meaning,  there 
will  be  secured  at  once  a  nearer  approach  to  a  Universal  European 
system  of  short-hand  than  even  Gabelsberger' s  system  ever  dreamed 
of.  In  fact  the  languages  of  the  whole  world  (those  which  have 
advanced  beyond  the  primitive  or  monosyllabic  period  of  develop- 
ment) can  be  written  with,  at  least,  uniform  prefixes  and  affixes  if 
we  adopt  this  new  principle  of  writing  them  by  their  meaning. 
This  new  principle  is  strictly  in  harmony  with  language  building, 
and  in  fact,  is  so  extremely  simple  that  it  is  astonishing  to  think 


INTRODUCTION.  O 

that  all  previous  Stenographies  have  entirely  overlooked  it. 
It  is  "as  simple  and  easy  as  nature  itself."  The  old  Steno- 
graphies generally  use  arbitrary  signs  without  regard  to  either  the 
meaning  or  sound  of  prefixes  and  affixes. 

PHONOGRAPHY. 

2.  The  second  alphabetical  principle  is  represented  by  Mr.  Pit- 
man's Phonography.  This  system  is  founded  upon  the  idea  of  mak- 
ing the  cognate  signs  the  same  shape,  but  using  thin  and  thick 
lines  for  the  distinction  of  cognate  sounds.  It  also  disconnects  the 
vowels  by  inserting  them  afterwards  by  using  light  or  heavy  dots 
or  dashes. 

Willis,  in  1602,  introduced  the  phonetic  principle  in  Stenography 
by  omitting  the  c  from  from  his  alphabet.  In  1635  Maud  left  the  q 
out  of  his  alphabet.  Lewis  left  all  silent  letters  out  of  his  system. 
Tiffin  in  1750  published  the  first  phonetic  system  of  short-hand. 
Roe  in  1802  published  a  phonetic  system.  Hardiug's  modification 
of  Taylor's  system  was  the  first  system  to  introduce  the  principle 
of  shading — it  was  used  first  to  distinguish  v  from/.  Mr.  Radclifle 
of  Plymouth  introduced  the  idea  of  leaving  out  vowels  in  writing. 
Taylor  introduced  the  idea  of  writing  vowels  by  a  dot  in  any  posi- 
tion. Harding  introduced  about  fifty  years  ago,  the  principle  of 
writing  a,  e,  i,  by  a  dot  for  each,  in  three  positions  Gurney  also 
wrote  five  vowels  by  three  dots — classing  a  and  e  together  and  o 
u  together.  Mr.  Pitman  gathered  up  those  points  of  his  predeces- 
sors and  brought  out  his  Phonography  in  1837.  An  examination  of 
his  system  reveals  the  fact  that  he  borrowed  outright  the  signs  for 
t,  m,  and  n  from  some  of  the  older  systems. 

Mr.  Pitman  seemed  to  gather  what  appeared  to  him  the  good 
material  from  the  older  systems  and  systematized  it  into  one  of  his 
own.  All  honor  is  due  him  for  this  and  for  his  long  persevering 
labors  in  this  field ;  but  we  must  not  forget  that  the  verdict  of  pos- 
terity will  soon  correct  the  extravagant  claims  of  some  of  his  well 
meaning  admirers.  It  is  now  beginning  to  be  realized  by  progres- 
sive Stenographers  in  both  England  and  America,  that  Mr.  Pitman 
utterly  failed  to  make  the  best  possible  arrangement  of  the  material 
in  his  possession.  It  is  a  remarkable  fact  that  in  Mr.  Pitman's 
Phonography  and  all  its  reduplications  up  or  down,  to  Mr.  Linds- 


6  INTRODUCTION. 

ley's  differentiated  reduplication  of  Pitman's  alphabetical  principle 
(which  he  calls  Tachygraphy),  the  fundamental  idea  of  their  alpha- 
bet is  violated  in  all  their  reporting  styles.  It  is  a  common  thing 
to  strike  signs  for  prefixes  and  affixes  and  other  purposes,  in  the 
two  opposing  directions,  for  the  sake  of  good  angles  in  the  join- 
ings. As  their  alphabet  is  based  upon  the  idea  of  having  the  same 
shape  for  cognate  signs,  this  practice  is  a  concession  to  the  weak- 
ness of  their  alphabetical  principle.  It  produces  inharmony  be- 
tween their  alphabets  and  their  reporting  styles,  and  is  in  direct 
conflict  with  the  vital  foundation  principle  of  their  systems.  Such 
a  fact  is  a  positive  demonstration  that  their  alphabetic  basis  is 
wrong,  because  they  had  to  change  it  when  they  advanced  to  their 
reporting  styles.  The  same  objection  is  found  in  the  Duploye 
French  principle  and  also  in  the  German  principle. 

The  inventor  of  the  new  Stenography  saw  that  the  old  systems 
were  self-coudemed,  and  unscientific  in  their  very  foundations,  and 
developed  the  new  Stenography  upon  the  idea  of  having  the  alpha- 
betical cognate  sounds  written  the  same  shape,  but  in  reversed 
directions,  thus  securing  complete  harmony  between  the  funda- 
mental principle  of  the  alphabet  and  the  actual  practice  in  the 
reporting  style.  It  is  impossible  to  remedy  this  defect  in  the  old 
systems — only  change  to  the  new  principle  will  rectify  such  incon- 
sistencies. Shading  is  universally  acknowledged  as  impracticable 
in  pencil  reporting  and  injurious  to  speed  in  pen  reporting. 

DUPLOYE'S  STENOGRAPHY. 

3.  It  is  unnecessary  to  consider  the  third  alphabetical  principle 
as  seen  in  Duploye's  French  system,  for  the  same  objection  applies 
to  it  as  to  Mr.  Pitman's  system.     These  objections  will  finally  rule 
any   system  out  of  the   field  in  the  contest  for  "survival  of  the 
fittest." 

THE    NEW    STENOGRAPHY. 

4.  The  fourth  alphabetical  principle  of  writing  cognate  sounds 
the  same  shape  but  struck  in  the  reversed  direction,  is  seen  to  be 
an  actual  necessity  in  practice  in  the  reporting  styles  of  other  sys- 
tems, and  what  is  established  as  sound  practice  for  a  reporting 
style,  must  be  as  sound  when  applied  as  a  fundamental  principle 
for  an  alphabet.     Other  systems  admit  the  superiority  of  the  prin- 


INTRODUCTION.  7 

ciple  by  using  it  in  actual  practice.  1. — Shading  is  not  employed 
in  the  new  Stenography,  which  is  a  strong  point  in  its  favor. 
2. — As  now  improved,  the  circles,  hooks,  loops,  etc.,  are  all  read  in 
the  order  of  writing  them — thus  making  all  the  principles  of  con- 
traction as  "  simple  as  nature  itself."  The  old  systems  never 
dreamed  of  realizing  such  order.  3 — The  Alphabet  introduces  the 
principle  of  writing  the  short  sounds  with  forward  motion,  and  the 
long  cognate  sounds  with  backward  motion.  The  consonantal  signs 
have  been  classed  so  that  the  Guttural,  Palatal,  Dento-palatal  and 
Labial  sounds,  have  signs  struck  in  uniform  directions  for  each 
class.  These  points  are  not  found  in  old  systems.  4. — The  Liter- 
ary style  is  the  first  Kirogratik  system  in  the  world,  that  has  a  Sten- 
ographic alphabet,  from  which  is  developed  a  system  of  writing 
without  any  contractions  whatever.  5. — Another  feature  is,  that  the 
improved  Literary  style  is  now  written  by  joining  vowel  and  conso- 
nant signs  together  in  words  in  the  order  of  reading  them — no 
vowels  are  inserted  afterwards,  as  in  other  systems.  The  Report- 
ing Style  writes  words  of  one  syllable  without  omission  of  vowels, 
when  necessary-  The  liule  of  Position  is  also  employed  to  express 
cognate  pairs  of  sounds  without  the  necessity  of  writing  them. 
Tachygraphy,  to  a  certain  extent,  also  returns  to  this  practice  of  the 
old  Stenographies, but  throws  away  the  valuable  material  of  Positions 
for  expressing  vowel  sounds  ;  while  Phonography  expresses  vowel 
sounds  in  the  same  position,  which  have  no  relation,  or  are  not  sug- 
gestive, thereby,  making  it  difficult  for  the  Reporter  to  read  prompt- 
ly his  notes.  6. — All  the  principles  of  contraction  (except  shading) 
found  in  English  systems,  and  what  is  valuable  in  European  systems, 
besides  original  principles  never  found  in  any  previous  system,  are 
introduced  in  the  Reporting  Styles — thus,  making  a  truly  Steno- 
graphic system.  7. — The  new  principle  of  contraction  introduced 
in  this  system  of  writing  prefixes  and  affixes  by  their  meaning, 
points  out  the  way  of  securing  an  International  system  of  Stenog- 
raphy, which  shall  be  in  harmony  with  the  fundamental  principles 
of  the  Science  of  Language. 

ILLEGIBILITY  OF   SHADED  ALPHABETS. 

The  illegibility  of  shaded  alphabets,  is  one  of  the  many  draw- 
backs which  render  them  unfit  for  a  Literary  Style  of  penmanship. 


8  INTRODUCTION. 

The  following  Phrases,  when  written  rapidly  in  a  shaded  alphabet 
with  a  pencil,  forcibly  iliustrate  this  fact,  as  they  may  be  read  for 
two,  three  or  more  meanings,  viz  : 

I  got  it  on  "  tick  "  or  I  got  it  on  Dick :  let  us  have  peace  or  let  us 
have  peas :  an  old  time  man  or  an  old  dime  man :  he  caned  his  wife 
or  he  gained  his  wife :  wait  for  me  or  wade  for  me  :  ask  for  his  Jane 
or  ask  for  his  chain  :  a  poor  rack  or  a  poor  rag :  good  bye  sir  or  got 
pie  sir  or  cod  pie  sir :  etc. 

ACKNOWLEDGEMENTS. 

The  author  desires  to  return  his  heartfelt  thanks  to  those  who 
came  forward  so  nobly  in  the  hour  of  weakness  of  the  new  system. 
Mr.  E.  C.  Hoyt,  author  of  the  most  perfect  system  of  Phonography, 
besides  being  a  first-class  Law  Reporter  in  the  Courts  of  Mich., 
is  a  noble  example  of  firmness  and  backbone  among  Stenographic 
authors  towards  new  systems.  The  comprehensive,  progressive, 
unflinching  men  with  opinions  of  their  own,  who  abandoned  the 
old  systems  and  stood  bravely  through  thick  and  thin  for  the  new 
Stenografy,  have  the  everlasting  gratitude  of  the  author.  They  all 
have  rendered  valuable  aid  in  various  ways.  Many  of  them  possess 
talents  of  a  very  high  order  which  enables  them  to  thoroughly 
appreciate  a  new  system  which  has  merit.  Amongst  this  number 
are  D.  N.  Waterbury  M.  D.,  Dr.  Wm.  J.  Vogt,  John  Shock  P.  M., 
Daniel  Guerin,  Wm.  C.  Albro,  Atty.,  Wm.  U.  Dame,  M.  L.  Free- 
man, F.  M.  Bowell,  E.  B.  Parke,  Prof.  W.  C.  Stewart  and  others. 

The  author  acknowledges  his  indebtedness  to  the  labors  of  the 
ancient  pioneers  in  Chirography  and  Stenography,  as  embodied  in 
the  common  Roman  Script  and  Tironian  Notes  and  their  differen- 
tiated applications,  as  seen  in  Gabelsbergers  Principles  and  Pitmans 
Phonography.  To  Mr.  Liudsley's  differentiated  reduplication  of  the 
Pitman  principle  the  author  looks  for  paternal  affection,  because  he 
remembers  with  pleasure,  that  he  was  taught  the  rudiments  of 
short-hand  from  Mr.  Lindsley's  own  pen.  While  the  new  system 
is  the  progressive  offspring  of  Tachygraphy,  it  is  far  more,  because 
it  reaches  out  and  claims  for  its  paternity  the  whole  Stenographic 
World  of  thought — past  and  present. 


THE  KIROGRAFIK  TEECHER. 


LESSON  I. 

1.     "Write  the  signs  and  letters  for  the  follow- 
ing vowel  sounds  on  the  blackboard. 


Ee      I       Ay    Ai     E      A     Eu    U  Ah  Aa 

The  names  and  sounds  of  these  signs  and  let- 
ters are  the  same.  They  are  heard  in  the  words 
eel,  ill,  ail,  air,  ell,  at,  her,  up,  are,  ask. 

a.  For  the  purpose  of  distinguishing  between  the  Kiro- 
grafik  characters  and  the  corresponding  letters  in  print  and 
script,  the  former  are  called  signs  and  the  latter  letters. 

b.  These  signs  are  arranged  in  cognate  pairs,   long  or 
voiced,  and  short  or  voiceless. 

c.  It  will  be  observed,  that  the  general  principle  govern- 
ing in  the  assignment  of  the  characters  in  so-called  cognate 
pairs,  is  that  of  having  the  signs  for  the  long  and  short  sounds 
the  same  shape,   but  struck  in  different  directions.      Signs 
formed  of  a  straight  line  are  exceptions  to  the  rule. 

REM. — 1.     The  Phonetic  method  of  teaching  is  adopted,  as  being 
most  in  harmony  with  the  simple  indications  of  nature.     The  be- 


10  THE   KIROGRAFIK   TEECHER. 

ginner  should  observe  a  single  sign  at  one  time,  and  then  learn  its 
name,  which,  in  all  cases,  is  the  sound  it  represents.  If  the  teacher 
prefers  the  word  method  of  instruction  it  can  be  used,  either  with  or 
without  the  Phonic  method.  The  absurdity  of  teaching  children  to 
recognize  even  a  small  proportion  of  ordinary  words,  before  they 
can  analyze  their  phonetic  elements,  is  apparent.  Less  than  fifty 
Phonic  elements  mastered,  give  a  key  that  will  enable  any  child  to 
recognize  any  ordinary  word  in  print,  after  a  short  period  of  drill ; 
but  it  would  require  many  hundreds,  or  even  thousands  of  word  hi- 
erogliphics  to  express  the  ordinary  talk  of  children.  Such  a  tax  on 
the  child's  memory  is  unreasonable;  it  may  be  a  good  way  to  master 
the  present  barbarous  orthography,  but  it  is  out  of  place  in  any 
natural  method.  Phonic  analysis  first,  then  word  reading  without 
analysis  is  nature's  progressive  method.  The  present  unphonetic 
orthography  can  best  be  mastered  by  combining  it- with  Phonic  writ- 
ing- 

REM. — 2.  After  the  student  or  class  has  learned  the  names, 
sounds,  forms  and  directions  of  these  signs,  they  should  then  put 
them  on  paper  with  pen  and  ink.  It  is  best  for  the  teacher  to  dictate 
the  lesson,  as  the  pupil  becomes  familiar  with  the  sounds  in  this  way. 


11  KM. — 3.  A  pen  is  the  best  instrument  to  use  in  writing  for 
new  beginners.  The  pen  should  be  held  between  the  first  and  second 
fingers  and  steadied  with  the  thumb,  as  it  is  when  held  in  the  usual 
way.  It  should  also  be  held  so  that  the  pen-holder  and  elbow  point 


THE   LITERARY    STYLE. 


11 


away  from  the  body.  Both  sides  of  the  pen-points  should  press 
equally  upon  the  paper.  A  smooth  motion  is  secured,  by  adroitly 
turning  the  pen  while  tracing  the  curved  signs.  The  preceding  cut 
illustrates  the  manner  of  holding  the  pen  when  writing  the  Kiro- 
grutik  signs,  although,  for  writing  common  script,  the  usual  method 
is  best.  The  practical  experience  of  tho  teacher  will  be  the  best 
guide  in  mastering  further  details  on  this  point. 

RE.M. — 4.  The  following  method  of  drill  will  be  found  to  serve 
as  a  guide  to  the  teacher's  dictation  exercises.  The  pupil  may 
practice  privately  on  these  exercises,  and  they  should  be  repeated 
until  thoroughly  mastered.  The  aptness  of  the  pupil  will  deter- 
mine the  length  of  time  to  be  spent  on  each  exercise. 

DRILL  NO.   1. 


COO        ooo 


VVV       \\\  VVv 


v  •    vv-'o-o. 


KKM. — o.  The  writing  exercises  should  be  written  on  ruled 
paper,  at  first,  the  pupil  leaving  every  other  line  vacant,  for  correc- 
tions by  the  teacher,  with  ink  of  a  different  color.  The  pupil  should 
then  go  over  the  exercise  and  correct  errors,  then  re-copy  it  as  many 
times  as  is  necessary  to  secure  a  fair  degree  of  speed  and  accuracy. 
Writing  from  dictation  should  begin  with  the  first  lesson,  and  as 
every  new  principle  and  new  combination  of  signs  is  mastered,  it 
should  be  turned  into  matter  for  drills.  Only  by  persevering  atten- 
tion to  the  minute  details  of  both  the  elements  and  their  subsequent 
practice,  can  the  highest  degree  of  success  be  attained.  The  teacher 
may  safely  leave  the  dictation  to  an  assistant,  or  to  one  of  the 
members  of  the  class,  after  the  first  exercise,  but  invariably  the 


12  TUP]    KIROGRAFIK   TEECIIER. 

exercises  should  be  corrected  by  the  teacher  himself,  or  herself.  A 
good  plan,  is,  for  the  class,  or  a  portion  of  it,  to  meet  together  and 
take  turns  at  reading  the  exercises.  When  not  convenient  to  meet 
in  this  way,  students  should  secure  the  services  of  a  friend  to  read 
the  exercises  to  them  for  practice.  It  is  also  a  good  plan  for  stu- 
dents to  pronounce  aloud,  or  mentally, 'the  name  or  sound  of  each 
sign  while  tracing  it  upon  the  paper.  Master  only  six  or  eight 
signs  in  this  way  at  one  time.  When  the  alphabet  is  thoroughly 
learned  so  that  the  sign  for,  and  power  of  each  sound  comes  in- 
stantly to  the  mind,  commence  and  go  through  each  succeeding 
exercise  very  carefully,  tracing  the  lines  as  though  drawing  with  the 
pen ;  this  should  be  done  slowly  and  accurately. 

2.     Write  the  signs  and  letters  for  the  follow- 
ing- vowels  and  dipthongs  on  the  blackboard. 


Au      O      Oh    Oe  Oo     Uu     le    Oi  On    In 

The  names  and  sounds  of  these  signs  and  let- 
ters are  the  same.  They  are  heard  in  the  words 
awe,  on,  owe,  obey,  ooze,  put,  eye,  boy,  how,  hew 
and  unite.  A  double  uu  is  used  for  the  sound  in 
put,  and  a  double  oo  for  its  cognate  in  ooze.  lu 
is  used  to  represent  the  dipthong  in  hew  and 
unite. 

d.  The  proper  size  to  make  the  vowel  signs  in  ordinary 
writing  is  as  follows  :  The  circle  for  long  En  should  be  one 
thirty-second,  and  for  short  1  one  sixty-fourth  of  an  inch  in 
diameter  ;  the  semicircles  for  long  Ay  and  short  Ai,  and  for  E 
and  A  should  be  made  one  thirty-second  of  an  inch  in  diame- 
ter ;  make  the  sign  for  Eu,  short  U,  long  le,  Oi  and  Ou  one 


THE   LITERARY    STYLE.  13 

sixteenth  of  an  inch  in  diameter ;  and  make  the  curved  lines 
for  Au^  0/t,  Oe,  O,  Oo,  Uv  and  lu  about  three  thirty-seconds 
of  an  inch  in  diameter  or  length. 

DEILL    NO.   2. 


REM. — 6.  It  is  proper  to  give  a  brief  presentation  of  the 
reasons  why  the  vowel  scale  has  been  classified  as  above.  Although 
it  is  not  intended  to  give  a  treatise  on  the  pronunciation  of  the  lan- 
guage— that  is  beyond  the  scope  of  this  book — yet  it  is  not  our 
purpose  to  avoid  the  issues  which  the  Phonetic  Science  of  the  future 
must  grapple  with.  While  the  author's  individual  views  are  given, 
they  are  not  intended  to  interfere  with  the  practice  of  teachers  who 
differ  in  opinion.  Science  alone  can  settle  it. 

REM. — 7.  The  division  of  the  alphabetical  sounds  in  the  lan- 
guage, into  different  classes,  has  been  in  accordance  with  their  or- 
ganic formation.  The  liugualized  vowels  Ee,  I,  Ay,  Ai,  E,  A,  Eu,  U, 
Ah  and  Aa,  are  classed  as  cognate  pairs.  A  dipthougal  glide  is  com- 
bined with  the  short  ay  element  in  ai  before  r.  The  organic  forma- 
tion of  vowels  of  this  class  is  similar — all  being  produced  through 
a  flattened  or  horizontal  slit  mouth  aperture.  The  labialized  vow- 
els Au,  0,  Oh,  Oe,  Oo,  and  Uu,  are  classed  as  cognate  pairs.  The 
organic  formation  of  this  class  is  similar — all  being  produced 
through  a  rounded  mouth  aperture.  The  extremes  of  each  scale, 
Ah  and  Au,  Ee  and  Oo,  approach  closely  in  organic  character.  The 
dipthongs  le,  Oi,  Ou,  and  lu,  are  compound  unions  of  simple  ele- 
ments. Long  ie  is  a  union  of  ah  and  ee,  oi  of  au  and  i,  ou  of  ah 


14  THE    KIROGRAFIK   TEECHER. 

and  tm  or  uu  ;  /•«  is  a  union  of  a  slight  y  or  i  element,  with  an  oo  or 
uu  element,  as  in  hnr,  mute.,  union. 

HEM. — 8.  The  signs  are  classed  together  in  pairs,  formed  by  the 
same  organs,  and  representing  as  closely  as  possible,  cognate, 
voiced  and  voiceless  sounds.  The  classification  of  the  vowels  is 
somewhat  different  from  the  old  system,  but  it  is  believed  to  be 
much  better  and  approaching  nearer  scientific  truthfulness.  The 
greatest  point  of  divergence  is  in  classing  e  and  a,  and  eu  in  her  and 
«,  as  cognate  pairs.  The  introduction  of  n  among  the  lingualixed 
vowels,  (instead  of  leaving  it  among  the  labialized  vowels  as  in 
other  systems)  is,  perhaps,  the  greatest  innovation.  It  can  be  readi- 
ly determined  by  a  few  simple  experiments,  that  this  change  is  in 
accordance  with  its  organic  formation.  Let  the  teacher  or  student 
stand  before  a  mirror,  and  observe  carefully  the  organs  of  vocal 
utterance :  then  sound  the  aa,  in  ask,  slowly,  followed  by  u  in  us, 
and  he  will  mid,  that  the  position  of  the  vocal  organs  are  organi- 
cally identical.  The  same  experiment  can  be  repeated,  by  placing 
the  aa,  in  ask,  before  k,  with  a  like  result.  Then,  perform  the  same 
experiments  with  the  labialized  vowels  au,  or  o,  and  it  will  readily 
be  seen  by  a  series  of  such  experiments,  that  it  is  a  lingualizcd 
vowel  in  organic  formation.  A  series  of  similar  experiments  with 
e  and  «,  will  result  in  finding  that  they  are  more  closely  related 
with  each  other,  (although  not  perfectly  cognate)  than  with  the 
long  ah  or  ee ,  or,  indeed,  any  of  the  other  vowels.  The  truth  of  the 
matter  is  found,  in  the  fact,  that  many  of  the  so-called  cognate  pairs 
of  vowel  sounds,  are  really  not  perfect  cognate  pairs.  Prof.  March, 
President  of  the  Spelling  Reform  Association,  recognized  this  diffi- 
culty, in  his  address  before  the  International  Philological  Conven- 
tion at  Philadelphia  in  1876,  when  he  said  : 

"  The  e  of  met  is  different  in  quality  from  its  long  as  heard  in  may, 
the  t  of  fit  from  its  long  as  heard  in  fee, ;  so  that  it  is  doubtful 
whether  one  character  will  do  for  both,  whether  we  must  not  have 
different  characters  for  each  short  and  long,  after  the  manner  of  old 
time-observing  tongues. " 

Again,  a  quotation  in  point  is  given,  taken  from  the  article  on  the 
"  Principles  of  Pronunciation  of  Webster's  Pictorial  Unabridged 
Dictionary.  "  In  speaking  of  the  character  of  the  sound  e  in  met, 
it  is  said : 


THE   LITERARY    STYLE.  15 

"  This  is  not  a  short  sound  of  the  long  ee.  It  has  usually  been 
considered  as  the  shut  or  extreme  short  sound  of  ay  in  fate ;  but 
most  orthoepists  at  the  present  day,  while  allowing  it  to  be  a  nearly 
related  sound,  regard  it  as  distinct,  being  slightly  more  open  than 
the  radical  part  of  ay,  and  lacking  the  vanish  :  bothrare  intermediate 
between  ak  and  ft:,  the  tongue  not  being  so  much  depressed  as  for 
the  former,  nor  raised  so  high  toward  the  palate  as  for  the  latter." 

Again,  Webster  says  of  the  short  a  in  add : 

"  With  respect  to  its  position  in  the  scale  of  sounds,  it  is  a  palatal 
vowel,  intermediate  between  ah  and  ee,  the  tongue  being  raised 
higher  than  for  a/i,.aud  not  so  high  as  for  ee.  " 

It  will  be  observed  that  Webster  classes  both  e  and  a  as  inter- 
mediate between  ah  and  ee.  Taking  the  same  view  of  their  organic 
formation,  they  have,  in  consequence,  been  classed  as  a  pair,  al- 
though not  perfectly  cognate. 

RKM. — 9.  The  vowel  sounds  in  air,  et,  at,  urge,  ut,  ot,  occur  only 
before  a  consonant.  The  o  has  two  sounds  as  found  in  the  words 
or,  nor,  and  on,  but  such  minute  varieties  of  sound  will  confuse 
many ;  hence,  for  a  practical  alphabet,  it  is  thought  best  to  avoid 
making  too  many  signs.  The  vowel  sound  before  r  in  monosyl- 
lables should  be  written  with  Au  in  such  words  as  or,  nor,  form, 
lord,  north;  and  also  in  such  accented  syllables  as  for'mer,  orchard, 
abhor1,  but  an  accented  syllable  followed  by  a  vowel  should  have 
the  o  sign,  as  in  for'tiyn,  or'ange,  tor'rid.  On  the  contrary  the 
short  vowel  sounds  in  ill,  ask,  obey  and  put,  occur  both  before  and 
after  single  consonants.  In  such  words  as  pity  and  kitty  the  i  is 
more  abrupt  and  explosive  than  the  y,  but  in  the  word  ability  only 
the  first  i  is  abrupt,  while  the  final  t  and  y  are  softer.  It  would  be 
impractical  to  represent  such  minute  distinctions  in  a  common  Kiro- 
grafy  intended  for  the  masses.  Aa  is  found  in  idea,  phenomena  and 
Judea ;  oe  in  octavo,  calico,  studio  and  vertigo ;  and  uu  in  the  preposi- 
tion to  when  it  is  unaccented. 


LESSON  II. 

3.     Write  the  signs  and  letters  for  the  follow- 
ing Labial  consonants  on  the  blackboard: 


W7i  w         f  v          p         b          m 

The  names  and  sounds  of  these  signs  and  let- 
ters are :  Whi,  Wi,  Fi,  Vi,  Pi,  Bi,  Mi.  They 
represent  the  sounds  of  these  signs  and  letters 
as  heard  in  the  words  whip,  wit  and  twit,  fifth, 
vivify,  pip,  Mb,  mimic. 

a.  It  will  be  observed  that  these  labial  or  lip  consonants 
are  all  written  inclined  to  the  right,  or  slanting  upward  at  an 
angle  of  forty-five  degrees.  The  principle  observed  in  the  as- 
signment of  the  signs  to  this  class  of  sounds,  is  that  of  strik- 
ing all  the  labial  consonants  in  the  same  general  direction. 
The  signs  are  arranged  in  pairs,  long  and  short,  with  the  ex- 
ception of  m  which  has  no  recognized  cognate  sound. 

6.  These  labial  consonant  signs  are  generally  written  with 
the  upward  stroke.  W7ii  and  Wi  are  semi-circles  divided  at 


THE    LITERARY    STYLE.  17 

an  angle  of  forty-five  degrees  to  the  right ;  their  diameter  is 
about  three  thirty  seconds  of  an  inch.  The  others  are  made 
five  thirty  seconds  of  an  inch  in  diameter  or  length.  Pi  and 
Bi  are  quarter  circles,  and  Fi  and  17  are  waved  lines. 

RE.M. — 10.  The  class  should  drill  on  the  consonant  signs  as  des- 
cribed iu  Lesson  II.  As  the  consonantal  sounds  cannot  be  sounded 
alone,  the  short  i  vowel  has  been  placed  either  before  or  after 
(generally  after)  the  sounds,  such  as  Bi,  Pi,  etc.  The  class  should 
name  the  signs  by  pronouncing  the  different  consonants  iu  com- 
bination with  the  short  i  sound.  When  it  becomes  necessary  to  dis- 
tinguish between  initial  and  flual  consonants  the  i  element  is  placed 
before  the  final  and  after  the  initial  signs.  Ip,  Ib,  Ik,  etc.,  denote 
the  names  and  sounds  of  p,  b,  and  k,  when  final.  Initial  and  final 
consonant  dipthongal  combinations  are  designated  in  the  same 
manner.  Tri,  Dri,  Spri,  are  the  names  of  initial  combinations,  but, 
Itr,  Idr,  Ispr,  are  the  names  of  the  same  combinations  when  final. 
The  initial  combinations  are  more  perfectly  dipthongal  than  the 
final,  and  for  practical  uses  this  difference  is  recognized  by  giving  a 
variation  of  names  for  the  same  consonant  combination. 

DRILL  NO.  3. 


4.     Write  the  signs  and  letters  for  the  follow- 
ing Dento-palatal  consonants  on  the  blackboard 


y     ^u 


s      thi    ith       d         t 


n 


18  THE    KIROGRAFIK   TEECHER. 

The  names  and  sounds  of  these  signs  and  let- 
ters are:  Yi,  lu,  Zi,  Si,  Tlii,  Itk,  Di,  Ti,  Ni» 
They  represent  the  sounds  of  these  signs  and 
letters  as  heard  in  the  words  Yi  and  minion, 
unite,  iz,  sis,  the,  oath,  did,  tit,  ninny. 

c.  This  class  of  dcnto-palatal  sounds  arc  formed  with  the 
organs  of  the  front  mouth  and  palate.     They  have  signs  given 
them  which  are  struck  near  the  horizontal  direction,  because 
they  occur  more  frequently  than  any  other  class  of  sounds  in 
the  language.     The  Kirografik  signs,  in  many  words,  would 
look  like  Oriental  perpendicular  script,  if  this  class  of  sounds 
had  perpendicular  signs  given  them.     Lineality  of  writing  is 
attained  in  a  great  measure  in  this  wajr. 

d.  Yi  and  lu  arc  semi-circles  cut  horizontally,  and  Zi  and 
Si  oval  or  egg  loops,  but  the  Zi  loop  is  left  with  a  slight 
opening  on  either  end.     The  diameter  of  these  signs  should 
be  three  thirty  seconds  of  an  inch  —  the  latter  two,  less  in  the 
short  diameter.     Thi  and  Ith  are  waved  lines,  Di  and  Ti 
quarter  circles,  and  Ni  a  horizontal  straight  line  ;  the  diame- 
ter or  length  of  these  signs  are  five  thirty  seconds  of  an  inch 
in  ordinary  writing.     Students  may  make  all  the  signs  larger 
or  smaller,  provided  the  general  proportions  arc  maintained 
throughout.     The  Lessons  near  the  close  of  the  book  show 
the  actual  size  and  proportions  of  signs  as  used  by  advanced 
writers.     Full  length  signs,  such  as   Hi,  Ti,  Ki,  etc.,  are  re- 
duced in  size  to  about  one  eighth  of  an  inch  in  length.    The  ne- 
cessities of  different  temperaments  and  styles  of  hand-writing 
preclude  the  idea  of  having  fixed  limits  to  the  size  of  signs. 
To  preserve  the  relative  proportions  between  the  sizes  of 
signs  is  the  only  possible  unvarying  rule  that  can  be  given  for 
all  purposes  of  writing. 


THE   LITERARY   STYLE. 

DRILL  NO.  4. 


19 


HEM. — 11.  The  /?<  dipthongal  sign  has  been  introduced  in  both 
the  vowel  and  consonant  charts,  because  it  is  really  a  union  of  a 
slight  y  or  i  and  the  oo  or  uu  elements. 


5. 


Write  the  signs  and  letters  for  the  follow- 


ing Palatal  consonants  on  the  blackboard: 


zh     sh  il  li        j        ch         li 

The  names  and  sounds  of  these  signs  and  let- 
ters are:  Zhi,  Shi,  11,  Li,  Ji,  Chi,  Hi.  They 
represent  the  sounds  of  these  signs  and  letters 
as  heard  in  the  words  azure,  flash,  ill,  late,  judge, 
church,  hit. 

e.  This  class  of  palatal  sounds  arc  formed  with  the  or- 
gans of  the  middle  month  and  palate  ;  Hi  is  an  exception,  as 
it  conforms  to  the  configuration  of  the  organs  in  any  class  of 
sounds  with  which  it  is  pronounced.  The  Palatals  are  struck 
in  a  perpendicular  direction. 

/.  The  signs  for  these  letters  are  made  the  following  size, 
viz  :  Zhi  and  Shi  three  thirty  seconds  of  an  inch  in  diameter ; 
H,  Li,  Ji,  Chi,  and  Hi,  five  thirty  seconds  of  an  inch  in 
length. 


20 


THE  KIROGRAFIK  TEECHER. 

DRILL  NO.  ;>. 


HEM. — 12.  The  sign  for  11  is  made  interchangeable  with  Li  in  or- 
der to  have  better  angles  in  joining  signs  into  words,  as  will  bo  seen 
in  the  succeeding  Lesson  on  Joinings.  The  Ji  and  Chi  sounds  are 
usually  considered  as  compound  elements,  corresponding  nearly  to 
a  union  of  d  and  zh,  and  t  and  sh.  In  a  practical  alphabet  it  is  bet- 
ter to  assign  to  them  distinct  signs. 


6. 


Write  the  signs  and  letters  for  the  follow- 


ing Guttural  consonants  on  the  blackboard  : 


och      ich      g 


k 


ng 


The  names  and  sounds  of  these  signs  and  let- 
ters are  :  Ir,  Hi,  Och,  Ich,  Gi,  Ki,  Ing.  They 
represent  the  sounds  of  these  signs  aud  letters 
as  heard  in  the  words  fir,  rich,  loch,  Dach,  gig, 
kick,  ing  and  ink. 


g.     This   class   of  guttural  sounds    are  formed  with  the 
organs   of   the    back    mouth    and    palate.     The  initial  Si 


THE   LITERARY    STYLE.  21 

and  final  Ir  and  also  Och  and  Ich  signs,  arc  made  interchange- 
able in  order  to  secure  good  angles  in  their  joinings -with  other 
signs,  as  will  be  seen  in  a  succeeding  Lesson. 

h.  The  signs  for  these  letters  are  made  the  following  size, 
viz  :  Ir  and  Hi  three  thirty  seconds  of  an  inch  in  diameter ; 
Oc/t,  Ich,  Gi,  Ki  and  Ing  five  thirty  seconds  of  an  inch  in 
length. 

HEM.— 13.  It  will  be  observed  that  the  Labial,  Dcnto-palatal, 
Palatal  and  Guttural  classes  of  consonants,  have  signs  which  are 
struck  in  a  general  uniform  direction,  for  each  class  of  sounds.  No 
classification  of  these  sounds,  however,  can  be  made  without  seem- 
ing irregularities  —  such  as  the  two  Ir  and  Hi  sounds.  Some  It's 
are  formed  with  the  root  of  the  tongue  and  hard  palate ;  others, 
with  the  tip  of  the  tongue  reversed  and  palate ;  again,  some  are 
strongly  trilled,  and  others  slightly  or  not  at  all. 

KEM. — 14.  Diagrams  and  Mnemonic  aids,  to  the  memory  of  pu- 
pils who  need  them,  are  often  of  great  service.  The  teacher  will 
find  the  following  appropriate  and  suggestive  for  this  purpose  : 


REM. — 15.  Let  the  pupil  point  out  the  geometric  outlines  of  each 
sign,  in  the  above  circles,  while  naming  it.  Th-i  alphabetical  signs 
are  all  formed  on  geometrical  principles,  and  drill  of  this  kind  will 
not  only  teach  pupils  the  first  elements  of  dots,  lines,  circles, 
squares,  right  angles,  acute  and  obtuse  angles,  but  will  also  prepare 
them  for  taking  lessons  in  mechanical  and  artistic  drawing. 

REM. — 16.  To  remember  the  strokes  for  t  and  d,  note  that  the  t 
sign  is  the  T-op  quarter  circle ;  and  d  is  the  D-own  quarter  circle  in 
a  circle.  The  arch  9  and  the  arch  10  shows  that  the  strokes  for  p-k, 
and  g-b,  form  the  up  and  down  arches.  The  initial  Ei  turns  to  the 
r-ight,  and  the  final  Ir  turns  to  the  left  as  in  the  word  are.  The  line 
7  and  8,  divides  the  circle  for  the  R  signs.  The  line  9  and  10,  di- 


22 


THE   KIROGRAFIK   TEECHER. 


vides  the  circle  for  Zlii  and  Shi.  In  this  way  the  teacher  can  point 
out  all,  the  signs,  and  make  it  interesting  and  instructive  to  the 
class. 

REM. — 17.  The  teacher  can  explain  the  analogy  between  the  dif- 
ferent classes  of  sounds  and  their  signs,  by  drawing  a  diagram  sim- 
ilar to  the  face  and  head  diagram  in  the  engraving.  In  addition  to 
the  classification  already  explained  to  the  pupil,  it  can  be  more 
strongly  impressed  upon  the  mind  in  the  following  manner :  The 
classification  of  the  consonants  are  illustrated,  by  showing  that  the 
sounds  formed  by  the  same  organs  are  written  in  the  same  general 
direction,  thus :  The  Labials  Whi,  Wi,  Fi,  Vi,  Pi,  Bi,  and  Mi,  are 
struck  upwards  at  an  angle  of  forty-five  degrees ;  the  Dento-palat- 
als  Yi,  lu,  Zi,  Si,  Thi,  Ith,  De,  Ti,  and  Ni  arc  struck  in  a  general 
horizontal  direction,  to  secure  Iiucalit5r,  as  they  arc  the  most  fre- 
quent occuring  class  of  consonants ;  the  Palatals  Zhi,  Shi,  //,  Li, 
Ji,  Chi  and  also  Hi,  arc  written  in  a  perpendicular  direction ;  and 
the  Gutturals  Ir,  Ri,  Och,  Ich,  Gi,  Ki,  and  Ing,  are  written  down- 
wards, with  an  angle  of  forty-five  degrees  to  the  right. 

DRILL  NO.  6. 


LESSON  III. 

FORWARD   AND    BACKWARD    MOTION. 

7.  In  order  to  secure  uniformity  as  far  as  pos- 
sible, the  principle  has  been  introduced  of  writ- 
ing the  voiced  or  long  signs  with  backward 
motion,  and  the  voiceless  or  short  signs  with 
forward  motion.  The  diagrams  numbered  1,  2, 
aud  3,  illustrate  forward  motion,  and  the  dia- 
grams 4,  5,  and  6,  illustrate  backward  motion,  as 
follows  :  Put  the  diagrams  on  the  blackboard  : 


Forward  Motion.  Backward  Motion. 

RULES  IN   RHYME. 

1.     When  the  pen  moves  as  the  hands  of  a  clock, 
Or  as  driving  a  screw  into  a  block, 

We  say  forward  in  Kirograflk  hand, 
The  reverse  is  backward  all  understand. 


24  THE   KIROGRAFIK   TEECHEB. 

2.     To  write  the  alphabet  alone,  all  should  know 
How  the  pen  for  every  sign  should  go ; 

Just  trace  all  the  voiced  signs  with  backward  motion, 
Forward  for  'voiceless  signs  without  exception. 

a.  The  teacher  may  now  have  the  class  write  from  dicta- 
tion the  voiced  or  long  signs  of  the  alphabet  with  backward 
motion,  as  follows :  Teacher  reads.—  Ee,  Ay,  E,  Eu,  Ah, 
An,  Oh,  Oo,  le,  Oi,  Ou,  Wi,  Vi,  Bi,  Mi,  Ti,  Zi,  Thi,  Di, 
Ni,  Zhi,  11,  Ji,  Hi,  Ir,  Och,  Qi,  Ing. 

The  pupils  write  down  as  the  teacher  dictates,  and  then 
read  the  exercises  as 

DRILL  NO.    7. 


b.  The  teacher  may  now  dictate  to  the  class  the  short 
signs,  to  be  written  down  with  forward  motion.  Teacher 
reads. —  /,  At,  A,  U,  Aa,  0,  Oe,  Uu,  lu,  WJii,  Fi,  Pi,  Si, 
Ith,  Ti,  Li,  Chi,  Ri,  Icli,  Ki.  (Repeated). 

The  pupils  write  down  the  above  as  the  teacher  dictates, 
and  then  read  it  as 

DRILL    NO.   8. 


c.     The  teacher  may  dictate  the  whole  alphabet  in  the  fol- 
lowing order,  and  the  class  may  write  it  down  and  then  re- 


THE   LITERARY    STYLE.  2a 

read  it.  It  will  be  noticed  that  the  alphabet  is  arranged  in 
so-called  cognate  pairs,  with  the  classes  following  each  other 
in  regular  order.  Teacher  reads. —  Ee,  I,  Ay,  Ai,  E,  A,  Eu, 
U,  Ah,  Aa,  An,  O,  Oh,  Oe,  G>o,  Uu,  le,  Oi,  On,  Wlii,  Wi, 
Fi,  Vi,  Pi,  Bi,  Mi,  Yi,  lu,  Z\.  Si,  Thi,  Ith,  Di,  Ti,  Ni, 
Zhi.  Shi,  II,  Li,  Ji,  Chi,  Hi.  Ir.  K>.  Och.  lch<  Gi,  /it,  Ing. 
The  class  writes  down  the  above  as  the  teacher  dictates,  and 
then  re-reads  ;is 

DRILL   A'O.   9. 


KKM. — 18.  Pupils  should  practice  on  the  alphabet  ten  minutes 
each  day,  until  they  have  gained  a  fair  degree  of  accuracy  and  speed. 
The  teacher  should  direct  them  to  practice  on  large  circles  and 
scrolls,  to  give  free  and  graceful  motion  to  the  hand.  The  teacher 
should  also  correct,  minutely,  the  faults  of  pupils  in  writing. 
Pupils  should  acquire  speed  enough  to  write  the  alphabet  as  given 
in  Drill  No.  9  in  from  fifteen  to  twenty  seconds,  at  least,  before 
proceeding  with  new  exercises — it  is  not  sufficient  to  write  fast,  but 
it  must  be  written  accurately. 

REM. — 19.  The  signs  in  the  and  thin,  wit  and  whit,  azure  and  sure 
are  really  cognate  sounds,  and  not  compound  sounds  as  in  the  ordi- 
nary alphabet ;  they  are  given  simple  signs  accordingly. 

REM. — 20.  The  Lessons  are  not  to  be  taken  as  samples  of  how 
much  a  pupil  should  learn  at  one  time,  as  they  are  so  arranged  that 
they  may  be  divided  into  smaller  lessons,  or  two  may  be  mastered 
at  a  time  in  some  cases.  The  main  point  to  be  gained,  is  thorough- 
ness ;  have  each  pupil  in  the  class  comprehend  fully  the  minutest 
details. 

REM. — 21.  The  Continuous  Nasals  are  Ing,  Hi,  Ne,  and  Mi.  The 
cognate  of  Ing  is  n  before  k  in  in*,  and  it  is  written  with  the  Ing 


26  THE    KJROGRAFIK   TEECHER. 

sign  because  k  always  follows  it  and  thus  prevents  confusion.  (The 
cognate  short  sounds  of  Ing,  Hi,  Ni  and  Mi  are  written  with  half 
length  signs  in  the  extended  Alphabet  used  for  Foreign  Languages. 
These  short  length  signs  may  be  used  in  English  if  preferred — their 
names  are,  Ink,  Hie,  Nie  and  Mie.  Ink  is  found  in  such  words  as 
ink,  brink,  bank  and  sink  :  Hie  in  'and  the  pronunciation  of  hand  by 
some  people,  as  also  in  the  aspirate  h  of  some  Foreign  Languages : 
Nie  is  found  in  such  words  as  hint  and  mint ;  and  Jfie  in  such  words 
as  lamp  and  limp.  But  these  fine  distinctions  are  rather  impracti- 
cable for  use  in  a  general  alphabet  for  the  mass  of  English  people. 

RKM.— 22.  The  explosives  Gi,  Ki,  Ji,  Chi,  Di,  Ti,  Bi  and  Pi,  are 
classed  together  because  of  their  abrupt  character. 

The  Continuous  Dividers  are  //,  Li,  Thi,  Ith,  Vi  and  Fi.  They 
are  distinguished  in  their  organic  formation  by  the  fact  that  the 
tongue  or  lower  lip  divides  the  mouth  in  two.  For  the  L  the  tip  of 
the  tongue  divides  the  mouth  by  coming  in  close  contact  with  the 
palate;  for  the  Th  the  tip  of  the  tongue  divides  the  mouth  by 
touching  or  projecting  between  the  teeth;  and  for  the  Fand  .Fthc 
lower  lip  divides  the  mouth  by  pressing  against  the  upper  front 
teeth. 

The  Continuous  Sibilants  arc  Zhi,  Shi,  Zi  and  Si,  and  arc  dis- 
tinguished by  their  hissing  character.  The  Coalcsceuts  are  Wi,  Whi 
and  Yi,  called  so,  because  of  their  readiness  to  unite  with  vowel 
sounds.  The  initial  Ki  is  called  trilled  because  of  its  rough  trilled 
character;  it  approaches  near  the  Zi  in  its  organic  character,  and 
the  final  or  smooth  Ir  is  palatal. 

REM. — 23.  Common  sense  and  practicality  have  been  duly  con- 
sidered in  assigning  the  signs  to  the  vowels.  Long  EC.  and  short 
/are  very  common  final  vowels,  and  they  have  given  to  them  the 
easiest  made  and  joined  vowel  signs.  The  two  small  circles  in 
such  words  as  infinity,  ability,  similarity,  city,  depletinyly,  defeatingly, 
and  fiecing,  illustrate  how  difficult  it  would  be  to  write  them  with 
the  sigu  for  Ah  or  Au,  which  arc  very  rarely  used,  as  final  sounds, 
in  English. 


LESSON  IV. 

JOINED   VOWELS    AND    CONSONANTS. 

8.  If  the  Right  hand  be  held  up,  with  the 
first  finger  bent,  forward  motion  will  be  seen,  as 
in  diagram  1 ;  and  if  the  Left  hand  be  held  up  in 
the  same  way,  backward  motion  will  be  seen,  as 
in  diagram  4. 


Joined   Vowels  and    Consonants. 

a.  As  a  general  Rule  the  vowel  signs  for  Ay,  Ai,  E  and  A 
are  joined  to  consonants,  as  in  diagrams  3  and  6  ;  Ay  and  Ai 
join  to  perpendicular  signs,  E  and  A  to  horizontal  and  slant- 
ing signs  as  hooks. 

6.  Initial  Hi  and  final  Ir  are  made  interchangeable  when 
necessary  to  secure  good  outlines  for  words ;  they  are  also 
joined  by  a  large  initial  or  final  hook,  to  other  signs,  as  seen  in 
diagrams  2  and  5.  When  a  good  angle  can  not  be  secured  by 
the  large  initial  or  final  hook,  then  either  Ir  or  Ri  are  used  as 
may  secure  the  best  angle — acute  angles  are  considered  the  best. 


28  THE    KIROGRAF1K    TEECHER, 

c.  The   consonantal   signs    are  generally  written  in  one 
direction,    for    the    purpose    of    securing    uniformity ;    the 
Labials  are  struck  from  the  line  of  writing,  upward,  at  an  an- 
gle of  forty -five  degrees  ;  the  Dento-palatals  are  struck  on  the 
line  of  writing  from  left  to  right  in  a  horizontal  direction  ;  the 
Palatals  are  struck  downward  in  a  perpendicular  direction,  so 
as  to  rest  on   the  line   of  writing ;  and  the  Gutturals  are 
struck  downward  at  an  angle  of  forty -five  degrees  to  the 
right,  so  as  to  rest  on  the  line  of  writing.     When  more  acute 
angles  can  be  secured  in  word  outlines,  consonant  signs  are 
struck  in  two  directions. 

d.  The  vowel  signs  are  struck  in  two  directions,  (with  a 
few  exceptions,)  choosing  that  which  secures  the  most  acute 
angles.     This  rule  applies  to  consonant  signs  in  some  cases. 

RULES   IN   RHYME. 

3.  'Twill  give  better  angles  in  the  short-hand  school, 
To  Avrite  Consonants  two  ways  by  rule ; 

Distinctness  of  outline  may  sometimes  demand 
For  Vowels,  both  the  back  and  forward  hand. 

4.  Then  on  all  the  consonant  strokes  that  curve, 
Turn  the  circles  inside,  and  ne'er  swerve; 

With  circles  /  and  Ee  the  same  course  pursue, 
Inside  of  vowel  curves  trace  them  too. 

5.  Join  the  Si  and  Zi  loop  to  voiced  vowel  curves  backward, 
But  for  the  voiceless  curves,  loop  forward ; 

But  small  circles  for  cognate  vowels  7  and  Ee, 
Outside  straight  line  angles  traced  must  be. 

6.  It  adds  ease,  speed,  grace  and  beauty  to  written  lines, 
To  join  with  acute  angles,  many  signs ; 

To  secure  distinct  outlines  is  not  so  hard, 
If  short-ticks,  are  added  in  words  like  card. 

e.  When  necessary  to   secure  a  good  angle   in  joining 
vowels  and  consonants,  or  consonants  and  consonants  to  each 


THE   LITERARY    STYLE.  29 

other,  it  is  sometimes  necessary  to  add  an  extra  short  tick, 
struck  in  any  direction,  (though  generally  at  right  angles). 
This  tick  is  made  shorter  than  the  dipthongal  vowel  signs  so 
as  not  to  conflict  with  them. 

/.  In  addition  to  the  Ri  and  Ir  already  treated  of,  the  // 
and  Li,  and  the  Och  and  Ich  signs,  are  made  interchangeable 
with  their  own  cognates.  Use  the  sign  which  makes  the 
most  acute  anijle  and  requires  the  least  number  of  extra  short- 
ticks  in  the  joinings.  When  angles  are  equally  good  with 
both  signs,  give  preference  to  the  forward  motion  Ri,  Li  and 
Ich  signs. 

REM. — 24:.  The  interchangeable  signs  may  be  regarded,  practi- 
cally, as  double  signs  for  their  respective  sounds.  Practical  con- 
siderations, of  great  importance,  constrained  the  author  to  make 
these  signs  interchangeable  in  this  way — the  student  will  perceive 
the  advantages  of  this  rule  without  further  comment. 

REM. — 25.  There  are  two  theories  as  regards  the  organic  forma- 
tion of  the  sounds  in  imite  and  mute.  The  adherents  of  the  first 
theory,  claim  that  these  sounds  are  vowel  dipthougs,  formed  by  a 
union  of  short  i  and  oo  or  uu ; — the  second  theory,  claims  that  both 
are  a  union  of  simple  consonant  yi  and  vowel  oo  or  uu  elements — 
the  element,  as  in  mate,  having  less  of  the  yi  clement.  We  incline 
towards  the  opinion  that  the  second  theory  is  the  correct  one,  and 
therefore,  have  made  the  Yi  and  lu  signs  interchangeable,  accord- 
ing as  may  be  required  for  the  best  angles.  Practically,  it  is 
thought  best  to  write  this  dipthong  with  a  single  lu  for  the  elements 
in  such  words  as  mute  and  wnite,  although  the  sound  in  unite  has 
unmistakable  yi  and  oo  or  uu  elements. 

REM. — 26.  A  few  exercises  are  given  in  the  common  Orthog- 
raphy, as  a  Writing  Exercise,  and  then  repeated  in  the  Kirograflk 
Alphabet,  as  a  Phonic  Reading  Exercise. 

The  English  alphabet  contains  three  useless  letters — c,  q,  x  equal 
to  s,  k,  ks.  The  Phonic  alphabet  contains  a  sign  for  each  sound ; 
hence,  in  writing  words,  use  only  the  signs  which  represent  the 
actual  elementary  sounds  in  them.  Perhaps  the  greatest  difficulty 
will  be  experienced  in  catching  the  true  sound  of  the  short  vowels. 


THE   KIROGRAFIK   TEECHER. 

Always  call  the  short  vowels  by  the  names  given  in  the  alphabet. 
The  short  sounds  in  the  words  ask,  up,  man,  air,  ill,  not,  obey,  pull 
will  give  the  long  sound  by  singing  them,  nearly  as  in  father,  urge, 
men,  ale,  eel,  naught,  old,  pool. 

WRITING  EXERCISE  I. 

Eve,  Stee,  eat,  eel,  each,  ear,  eke.  Iv,  if,  ib,  ip,  im,  is, 
iss,  ith,  id,  it,  in,  ish,  i-li,  ij,  itch,  i-ri,  5g,  ik,  ing.  Aye,  abe, 
ape,  aim,  ayes,  ace,  aid,  ate,  ale,  age,  aitch,  air,  ache.  Ev, 
ef,  ebb,  ep,  em.  ez,  es,  eth,  ed,  et,  en,  esh,  ell,  edge,  etch, 
e-ir,  egg,  ek,  eng.  Av,  af,  ab,  ap,  am,  az,  as,  ath,  add,  at, 
an,  ash,  al,  af,  ach,  ag,  ak,  ang.  Uv,  uf,  ub,  up,  urn,  uz, 
us,  nth,  ud,  ut,  un,  ush,  u-li,  udge,  uch,  eu-ri,  ug,  uk,  ung. 
As,  are,  ask,  aa-f,  aa-m. 

PHONIC  READING  EXERCISE   I. 


THE   LITERARY   STYLE. 


WRITING  EXERCISE  II. 


31 


Awed,  aught,  awn,  all,  aug,  auk.  Ov,  off,  ob,  op,  om, 
OS,  6s,  oth,  odd,  ot,  on,  osh,  ol.  Och  !  6-ri,  og,  ok,  ong. 
Ope,  os,  oath,  ode,  oat,  own,  o'er,  oak,  owing.  Ooze  oot, 
oos.  I'v,  I'm,  eyes,  ice,  eyed,  Isle,  ire,  ike,  eyeing.  Oil, 
out,  owl,  ouch,  our. 

PHONIC  READING  EXERCISE  II. 


RE.M. — 27.  Any  one  who  studies  this  book  without  a  teacher 
should  go  through  the  Exercises  and  Drills  and  then  correct  them 
with  even  more  care,  if  possible,  than  when  following  the  instruc- 
tions and  advice  of  a  teacher. 

WRITING  EXERCISE  III. 

We,  whee,  vee,  fee,  bee,  pea,  me,  }-e,  zee,  see,  thee,  de, 
tea,  knee,  zhee,  she,  lea,  jee,  cb.ee,  he,  re,  gee,  key.  We, 
whee,  vi,  fi,  bi,  pi,  mi,  _yi,  zi,  si,  thi,  di,  ti,  ni,  zhi,  shi,  li,  ji, 
chi,  hi,  iu-i,  gi,  ki.  Wa}-,  whe}r,  bay,  pay,  ma}r,  yea,  Zey. 
say,  they,  da}-,  tay,  nay,  shay,  la}-,  jay,  chay,  hay,  raj-,  gay, 
kay.  Fah,  bah,  pah,  mah,  yah,  ha!  Faw,  paw,  maw,  }'aw, 
saw,  thaw,  daw,  knaw,  shaw,  law,  jaw,  haw,  raw,  gaw,  kaw. 
Yo,  whoa,  vo,  bow,  poe,  mow,  so,  though,  doe,  toe,  no, 
show,  low,  Joe,  hoe,  roe,  go. 


THE    KIROGRAFIK   TEECHER. 
PHONIC  READING  EXERCISE  III. 


LESSON  V. 

ANGLES   AND   CUKVES. 

9.  When  signs  are  joined  together,  they  are 
written  without  lifting  the  pen,  the  second  com- 
mencing where  the  first  ends.  Pronounce  each 
sound  aloud  as  it  is  written,  calling  them  by  the 
phonetic  names  in  the  alphabet,  thus  :  li  is  to 
be  named  Hi,  not  aitch,  etc. 

All  signs  in  words  are  joined  into  one  outline. 
As  each  sign  has  a  fixed  form  and  direction,  its 
union  with  all  other  signs  is  in  accordance  with 
geometric  laws. 

The  angle  ot  union  of  signs  is,  hence,  either 
right,  acute,  or  obtuse. 


Angles  and  Curves. 


34  THE    KIROGRAFIK   TEECHER. 

a.  Every  letter  in  the  Alphabet  is  written  in  the  direction 
of  the  strokes  in  diagram  1 .  All  the  strokes  are  made  in  a 
perpendicular,  horizontal,  or  slanting  direction.  The  slant- 
ing strokes  may  vary  in  direction  from  30  to  60  degrees  from 
the  horizontal,  because  such  latitude  is  conducive  to  lineality, 
grace  of  outline  and  rapid  penmanship.  Both  the  initial  and 
final  R  are  classed  with  the  right  angles  in  diagram  5,  al- 
though they  are,  strictly,  more  than  right  angles,  in 
accordance  with  this  principle  of  latitude  for  slanting  signs. 

6.  The  signs  for  insj.  hi,  mi,  and  ni  in  diagram  1  are  ri<jht 
lines.  The  signs  for  g-k,  in  diagram  3,  are  a  lower  half 
circle,  while  p-b  in  diagram  6  is  the  upper  half  circle.  The 
signs  for  g-b  and  j-ch  in  diagram  2  are  facing  curves.  Most 
of  the  vowel  signs  are  small  curves  or  circles.  The  cognate 
pairs  of  signs  are  all  facing  curves.  The  signs  d-t  in  diagram 
4  are  opposing  curves  in  the  same  direction. 

RIGHT    AN?GLES. 

c.  The  signs  m-ng,  ng-m,  7i-n,  n-h,  ou-ie,  ie-ou,  ou-oi,  and 
oi-u  when  joined  form  right  angles. 


The  curves  p-k,  g-b,  j-d  and  t-ch  unite  in  half  circles,  but 
the  cords  of  these  curves,  as  shown  in  the  outlines  preceding; 
them,  unite  in  right  angles.  Such  Facing  curves  always 
unite  without  an  angle. 

ACUTE    ANGLES. 

d.  The  signs  for  h-m,  m-7t,  m-m,  7i-/i-,  ng-ng  unite  in 
acute  angles.  The  facing  curves  j-b,  p-ch,  t-b,  unite  without 
angles, — p-p  and  b-b  with  angles.  The  cords  of  these  curves 
unite  in  acute  angles. 


THE  LITERARY   STYLE. 


35 


OBTUSE    ANGLES. 

e.  The  signs  for  ny-n,  n-ng,  h-ny,  ny-h,  unite  by  forming1 
obtuse  angles.  The  facing  curves  y-d,  t-k,  j-y,  and  k-ch  unite 
by  forming  angles ;  the  cords  of  these  curves  unite  in  obtuse 


SAME    CURVES    REPEATED. 


/.  The  curves  for  the  signs  di,  ti,  thi,  ith,  vi,  fi,  il,  U,  ji, 
chi,  pi,  W,  gi,  ki,  zhi,  s/u,  ir,  ri,och,ich,  when  repeated  must 
form  an  angle  in  all  cases. 


OPPOSING    AND    FACING    CURVES    IN     THE    SAME    DIRECTION. 

g.  The  opposing  curves  in  the  same  direction  b-p,  p-b,  d-t, 
t-d,  g-k,  k-g,  j-ch,  ch-j,  unite  in  waved  lines  without  forming 
angles,  but  tJii-ith,  Mi -thi,  v-f,  f-v,  unite  by  forming  angles, 
and  are  Facing  curves  in  the  same  direction.  The  invariable 
rule  which  enables  the  student  to  distinguish  between  Facin«- 

™  cT> 

and  Opposing  curves,  is,  to  remember  that  Opposing  curves 
that,  unite  with  an  angle  are  always  struck  by  reversing  the 
movement  of  the  pen,  as  in  j-t  d-ch ;  but  Facing  curves,  and 


36 


THE    KIBOGRAFIK   TEECHER. 


Opposing  curves  in  the  same  direction  that  unite  without  an 
angle,  are  always  struck,  without  reversing  the  movement  of 
the  pen,  as  in  d-g  and  g-k. 


DRILL  NO.  10. 

OPPOSING  AND    FACING    CURVES    IN    DIFFERENT  DIRECTIONS. 


h.     All  opposing  curves  in  different  directions  must  join  by 
forming  angles. 

FACING    CURVES. 

i.     1. — Facing   curves    whose   cords    would    form    acute 
angles :  j-b,  p-ch,   p-d,  t-b,  g-eh. 


2. — Curves  that  face  acute  angles  formed  of  right  lines: 
M-ch,  h-b,  p-h,  m-d,  ng-ch,  t-m,  j-m. 


THE    LITERARY    STYLE. 


8. — Facing  curves  whose  cords  would  form  obtuse  angles  : 
G-d,  t-k,  j-g,  k-ch,  p-t,  d-b.  Such  Facing  curves  always 
unite  with  an  angle. 


DRILL  NO.  11. 

RIGHT    LINES  AND    CURVES    JOINED    TOO  ETHER. 


/-.  Right  lines  and  curves  joined  together  become  modified 
by  the  laws  of  motion  in  actual  practice.  The  sharp  angles 
are  rounded  oft'  to  a  greater  extent  than  shown  in  the  en- 
gravings. All  such  junctions  should  be  mastered  so  that  the 
two  strokes  are  written  with  only  one  movement  of  the  pen. 
Do  not  make  too  much  of  the  angles.  These  junctions 
exhibit  various  modifications  of  angles,  but  the  principal  ones 
are  distinct  angels,  as  in  h-j  and  k-ng ;  half  angles,  as  in  h-d 
&ndp-nc/;  and  no  angles,  as  in  /i-#,  n-fc,  p-n,  d-ra,  and  j-ng. 
In  writing  with  the  pen  the  half  angles  are  usually,  however, 
joined  together,  as  in  no  angles. 


88  THE   KIROGRAFIK   TEECHER. 

RKM. — 28.  The  basis  of  the  Kirograflk  signs  (being  Right  lines, 
Curves,  Circles,  Semi-circles,  Loops  and  Hooks,  written  in  various 
directions)  constitute  lines  of  beauty  and  speed.  In  the  actual 
practice  of  rapid  penmanship,  the  original  geometrical  signs  be- 
come modified  and  filled  with  the  meaning  and  life  which  results 
from  all  motion.  Kirografy  engraved  with  precision  appears  stiff 
and  angular;  this  appearance  disappears  when  modified  by  the 
spirit  of  motion  imparted  by  a  flowing  pen.  The  laws  of  motion 
demand  this  as  a  necessity  which  compensates,  by  adding  ease  and 
flowing  gracefulness  to  the  appearance  of  the  penmanship. 

REM. — 29.  The  mechanical  movements  of  the  pen  in  writing  be- 
ing forward  on  the  direct  line  of  writing,  all  sidcwise  movements 
are  more  or  less  subordinated  to  them.  All  perpendicular  strokes 
will  be  shorter  than  those  written  slanting  upward,  or  slanting 
downward  or  forward  horizontally ;  this  principle  applies  to  all 
words  which  extend  far  below  or  above  the  line  of  writing,  as  they 
will  be  brought  more  into  lineality  by  making  the  signs  shorter  and 
thus  avoid  encroaching  on  the  rules  of  geometrical  position. 

REM. — 30.  Curves  and  Angles  arc  modified  by  motion  in  various 
ways  :  1,  All  horizontal  curves  will  be  segments  of  an  ellipse  cut 
through  the  long  diameter  instead  of  segments  of  a  circle.  2,  The 
perpendicular  curves  convexed  to  the  right  arc  curved  most  near 
the  beginning,  and  those  curves  couvexed  to  the  left  are  curved 
most  at  the  end.  3,  Upward  or  downward  slanting  curves  are  also 
irregularly  curved  near  one  end,  according  to  the  direction  of 
striking  them.  4,  Motion  will  be  more  retarded  near  the  beginning 
and  end  of  horizontal  curves  than  in  the  middle,  while  it  will  be 
retarded  in  the  middle  of  perpendicular  curves  consequent  on 
change  of  direction.  5,  Obtuse  angles  are  made  more  acute  by 
changing  the  angle  of  slanting  straight  lines,  or  by  modifying  the 
convexity  of  curves;  thus,  the  sign  //*;/,  in  the  outlines  »<-»{/ will  be 
nearer  perpendicular  than  when  standing  alone;  while  in  //-/;// it 
will  be  nearer  horizontal ;  and  Di  before  Iwj  will  be  more  curved 
at  its  termination  than  when  it  occurs  before  downward  Mi.  G, 
All  junctions  of  signs  where  a  hook,  circle  or  loop  occurs,  require 
a  little  deviation  from  the  rigid  geometrical  figure,  for  the  sake  of 
securing  graceful  uuioas. 

RKM. — 31.     In  ornamental  writing  it  will  add  to  the  appearance 


THE  LITERARY    STYLE.  39 

of  the  penmanship  to  shade  some  of  the  signs,  or  make  them  heavy 
where  the  laws  of  motion  make  it  easy  and  natural.  Straight  lines 
should  be  shaded  uniformly  throughout  their  entire  length,  but 
curved  signs  should  be  shaded  heaviest  either  at,  before  or  after, 
the  middle — the  shading  tapering  off  gradually  toward  the  ends  as 
is  most  convenient.  Different  temperaments  will  write  heavy  or 
shaded,  light  or  flowing  as  is  most  natural  to  them.  This  capacity 
for  suiting  the  requirements  of  different  styles  of  penmanship  by 
using  shading  only  where  natural,  is  one  of  the  strongest  advan- 
tages of  the  common  long-hand  script,  as  well  as  one  of  the  serious 
defects  of  the  old  Stenograflk  Alphabets. 

REM.  32.  According  to  mechanical  law,  increase  of  speed  must 
be  attended  with  decrease  of  force ;  hence,  in  rapid  penmanship,  it 
is  utterly  impossible  to  shade  or  write  as  heavy  as  when  writing 
deliberately.  One  of  the  glories  of  the  old  long-hand  script  is  its 
adaptability  for  use  with  either  a  pen  or  pencil.  A  Kirograflk  Al- 
phabet intended  to  be  the  basis  of  a  Stenograflk  system  for  the 
greatest  possible  speed,  should  not  be  limited  by  the  burden  of 
shaded  sigus  which  make  it  impossible  to  secure  legibility  of 
writing  with  a  pencil.  One  of  the  chief  defects  of  Stenograflk 
Alphabets  is  overcome  in  the  shadeless  Kirograflk  Alphabet.  The 
writer  will  naturally  adopt  as  small  a  scale  of  penmanship  in  rapid 
writing  as  is  consistent  with  legibility,  because  short  roads  are 
travelled  sooner  than  long  distances.  These  remarks  upon  the 
modilicatious  of  motion  upon  outlines,  are  not  in  conflict  with  the 
geometrical  laws  of  outline  for  signs,  because  these  modifications 
are  solely  the  effect  of  rapid  speed  or  motion  upon  outlines,  and  they 
even  appear  to  a  less  extent  when  geometrical  accuracy  is  aimed 
at  by  writers. 

REM. — 33.  Young  writers  should  have  their  attention  called  by 
their  teacher,  to  the  fact  that  Facing  curves  unite  without  an  an^le 
in  such  junctions  as  T-D,  P-K,  G-B,  P-Ch,  and  J-B;  but  such 
junctions  as  T-K,  P-T,  <t-D  unite  with  an  angle.  Facing  curves 
are  more  easily  written  than  opposing  curves,  except  where  the 
latter  unite  without  an  angle  and  extend  in  the  same  direction.  In 
joining  consonants  together  in  one  outline  many  opposing  curves 
can  be  joined  without  angles,  because  the  vowels  are  omitted. 
Such  junctions  as  P-B,  D-T,  T,D,  G-K,  and  K-G,  unite  without  an 


40       THE  KJROGRAFIK  TEECHER. 

angle  in  the  same  direction,  with  the  exception  of  P-B,  which  may 
be  written  also  without  an  angle  as  a  facing  curve.  By  a  careful 
assignment  of  curves  to  frequently  occurring  classes  of  sounds,  a 
foundation  is  secured  for  a  much  larger  number  of  these  easy 
junctions  in  the  reporting  styles  than  is  possible  with  the  old  Steno- 
graphic assignment  of  signs  to  sounds. 

BEM. — 34.  The  straight  line  consonant  signs  Hi,  Mi,  Ni,  and  Ing 
are  doubled  in  length  to  represent  two  of  the  same  sound ;  or  they 
may  be  retraced  backward  near  the  first  sign — this  method  is 
generally  preferable  except  that  it  requires  two  instead  of  one 
movement  of  the  pen. 

RULES   IN  RHYME. 

7.  When  consonants  alone  are  joined  together, 
A  few  good  rules  will  save  much  bother ; 

All  opposing  curves  in  the  same  direction, 
Unite  in  waved  lines  without  intersection. 

8.  All  opposing  curves  whose  cords  would  form  angles, 
And  facing  curves  whose  cords  form  obtuse  angles, 

Should  be  written  to  form  an  angle  in  all  cases, 
And  like  Vi-Pi  and  Pi-Ti  take  their  places. 

9.  The  facing  curves  whose  cords  would  form  right  angles, 
And  those  whose  curves  form  acute  angles, 

Must  be  joined  together  without  angles  in  one, 
Like  Ji-Ni  in  join,  and  Pi-Ni  in  pun. 

10.  Opposing  curves  in  different  directions, 
The  same  curve  if  in  repetition, 

Curves  that  form  acute  angles  if  formed  of  right  lines, 
All  these  must  make  angles  in  joined  signs. 

11.  Let  the  other  unions  of  curves  and  right  lines, 
Blend  in  graceful  consonantal  signs ; 

The  angles  are  sacrificed  for  speed  in  writing, 
Because  graceful  forms  are  more  inviting. 

WRITING  EXERCISE  IV. 

Weave,  wave,  wove,  waif,  wife,  web,  weep,  wipe,  womb, 
ways,  was,  woes,  woos,  wise,  with,  weed,  wade,  wed,  wad, 


THE   LITERARY    STYLE. 


41 


wooed,  would,  wide,  wit,  wait,  wet,  wight,  wean,  win,  wane, 
wen,  wan,  won,  wine,  wish,  wash,  will,  wail,  well,  wall,  wool, 
wile,  wage,  wedge,  witch,  watch,  Weir,  ware,  war,  wooer, 
wire,  wig,  wag,  weak,  wick,  wake,  walk,  woke,  wing,  wink, 
winking,  winging,  winkers,  winkingly. 

PHONIC  READING  EXERCISE  IV. 


WRITING  EXERCISE  V. 

Whiff,  whip,  whim,  whizz,  wheat,  whit,  white,  whine, 
wheel,  whale,  while,  which,  whir,  where,  whig,  whack, 
whang.  Viv,  vive,  vim,  viz,  vis,  vid,  vil,  vichy,  vir,  vick, 
ving.  File,  feej,  fame,  fern,  fain,  fum,  foam,  fees,  phiz, 
phase,  fuz,  foes,  face,  fuss,  faith,  feed,  fid,  fade,  fed,  fad, 
fud,  feet,  fit,  fate,  fat,  fut,  fought,  foot,  fight,  fin,  fain,  fen, 
fan,  fun,  fawn,  phone,  fine,  fish,  feel,  fill,  fail,  fell,  fal,  fill, 
fall,  fol,  foal,  full,  fool,  file,  foil,  ful,  fuel,  fudge,  Fitch, 
fetch,  fear,  fir,  fare,  fur,  far,  four,  fire,  fig,  fag,  fog,  fick, 
fing,  feng,  fang,  fink,  fenk,  fank. 


42  THE   KIROGRAFIK   TEECHEB. 

PHONIC   READING   EXERCISE  V. 


WRITING   EXERCISE  VI. 

Biv,  bevy,  above,  butt',  bib,  babe,  beb,  bab,  bub,  bob, 
booby,  bibe,  bap,  bup,  beam,  bim,  bem,  bam,  burn,  balm, 
baum,  boam,  boorn,  bees,  biz,  buss,  bows,  boozy,  bi^ys,  boys, 
beaus,  base,  buss,  boss,  bias,  bass,  bathe,  bath,  both,  booth, 
bead,  bid,  bade,  bed,  bad,  bud,  bod,  bode,  bood,  abide, 
Boyd,  bowed,  beat,  bit,  bait,  bet,  bat,  but,  bought,  boat, 
boot,  bite,  about,  bean,  bin,  bane,  ben,  ban,  bun,  bon,  bone, 
boon,  bine,  Boyne,  bish,  bush,  bash,  bosh,  bill,  bail,  bell, 


THE   LITERARY    STYLE.  43 

bul,  bawl,  bowl,  bull,  bile,  boil,  badge,  budge,  beach,  bitch, 
batch,  botch,  beer,  bare,  burr,  bar,  bore,  boor,  bower,  big, 
beg,  bag,  bug,  bog,  beak,  bake,  bake,  back,  buck,  baulk, 
bing.  bang.  bung. 

PHONIC  READING  EXERCISE  VI. 


WRITING    EXERCISE  VII. 

Pave,  pev,  putt',  pib,  peb,  peep,  pip,  pep.  pap,  pup,  pop, 
pope,  poop,  pipe,  pirn,  poem,  peas,  pays,  paws,  Poe's,  pies, 
poise,  pews,  peace,  pace,  pussy,  pass,  p6zy,  pith,  path,  paid, 


44 


THK    KIROGRAFIlv    TKKCI1KR. 


pud,  pawed,  pod,  pooed,  pied,  peat,  pit,  pate,  pet,  pat,  pot, 
put,  pout,  peony,  pin,  pain,  pen.  pan,  pun,  pawn,  upon, 
pony,  pine,  puny,  push,  peal,  pill,  pail,  pel,  pal,  Paul,  pol, 
pole,  pull,  pool,  pile,  Powell,  podge,  peach,  pitch,  patch, 
poach,  pouch,  peer,  pair,  purr,  par,  pore,  poor,  pyre,  pure, 
pig,  peg,  pug,  pog,  peak,  pick,  peck,  pack,  puck,  poke,  pike, 
puke.  ping,  pang,  pawing,  pooing. 

PHONIC   READING   EXERCISE  VIT. 


LESSON  VI. 

PHONIC    ANALYSIS. 

10.  Phonic  Analysis  is  the  art  of  minutely 
analyzing  vowel  and  consonant  sounds,  so  that 
they  may  have  uniform  unvarying  letters,  signs 
or  digraphs  assigned  them  in  the  orthography  of 
words.  One  letter,  sign,  digraph  or  trigraph  for 
the  same  simple  or  compound  sound  is  the  funda- 
mental basis  of  all  correct  Phonic  Analysis.  The 
orthography  of  the  English  language,  on  the 
contrary,  is  founded  upon  arbitrary,  erroneous, 
contradictory  and  unreasoning  principles  of 
Phonic  Analysis,  which  must  be  abolished  before 
any  real  progress  in  the  art  of  writing  by  sound 
can  be  attained.  A  brief  key  is  furnished  to  aid 
teachers  in  teaching  their  pupils  to  easily  com- 
prehend the  differences  between  the  common 
orthography  aud  Phonic  spelling.  Words  are 


46  THE    KIROGRAFIK   TKKCHER. 

given  illustrating  the  varieties  of  letters  and 
digraphs,  used  for  the  same  sound  in  the  com- 
mon orthography.  The  letters  or  digraphs 
representing  the  same  sound  are  italicized. 

VOWEL  SOUNDS. 

a.  1.  I  is  found  in  the  words  it,  been,  myth,  barley, 
plaguey,  b«sy,  women,  circuit,  forfeit,  English,  sieve  and 
mountain. 

2.  Ee  is  found  in  the  words  eel,  eve,  eave,  mien,  marine, 
people,  key,  quay,  conceit. 

3.  Ai  is  found  in  air,  care,  where,  their,  bear. 

4.  Ay  is  found  in  aye,   ale,   ail,  may,  they,   able,   gaol, 
gaitge,  veil,  great,  fete,  eight,  straight,  and  Coquet. 

5.  E  is  found  in  ell,  many,  said,  head,  says,  and  guess. 

6.  A  is  found  in  at. 

7.  Eu  is  found  in  her,  earth,  word,  jormie3r,  urge,  mirth 
and  myrrh. 

8.  U  is  found  in  up,  bwt,  love,  dowble,  hiceowgh,  wonder, 
blood,  bl/tdgeon  and  region. 

9.  Ah  is  found  in  ah!  father,  bazaar,  braAma,  awnt  and 
gttard. 

10.  ^la   is   found   in   ask,  a   (indefinite   article),  away, 
America ,  Hanna/i  and  lawgh. 

11.  Au  is  found  in  all,  awl,  aught,  ought,  awe,  order,  for, 
God,  George. 

12.  0  is  found  in  on,  what,  co?*gh,  ftonor,  and  encore. 

13.  Oe  is  found  in  obey  and  chromo. 

14.  Oh  is  found  in  old,  toe,  0!  Oh!  owe,  below,  though, 
oat,  fowr,  door  and  beaw. 

15.  Uu  is  found  in  pwll,  to,  wolf,  cowld  and  foot. 


THE   LITERARY    STYLE.  47 

16.      Oo  is  found  in  who,  pool,  two,  drew,  trae,  recruiting, 
brute,  soitp,  through,  lieu,  gho?/l. 

DIPTHONG  SOUNDS. 

6.     1.     le  is  found   in  /  (pronoun),  eye,    ayes,    idle,    die, 
dye,  nigh,  height,  style,  Isle,  choir,  my,  Guy,  geyser. 

2.  Oi  is  found  in  oil,  boy,  and  chamois. 

3.  Ou  is  found  in  how,  plow,  plough,  owl,  our,  hour. 

4.  lu  is  found  in   mute.  unite,   hew,  beauty,  hue,  feud, 
\iew,  ewe  and  eulogy. 

CONSONANT   SOUNDS. 

c.     1.      Wi  is  found  in  we,  one,  queen,  Tweed,  and  buoy. 

2.  Whi  is  found  in  why. 

3.  Vi  is  found  in  of,  nephew  (sometimes),  and  vivid. ' 

4.  Fi   i9  found   in   i/,  fife,    muff,    tough,  phonic,    and 
lymph. 

5.  Hi  is  found  in  babe,  and  snu&fted, 

6.  Pi  is  found  in  people,  mapped  and  hiccougr/t. 

7.  Mi   is    found    in   mum,    mammon,    thu?7i6,    salmon, 
damned,  apothegm  and  limp. 

8.  Yi  is  found  in  union,  yet,  and  million. 

9.  Zi  is  found  in  zest,  is,  days,  buzz,  hens,  robs,  places, 
chaise,  schism,  Xenophon,  discern  and  suffice. 

10.  Si  is  found  in  siss,   sits,  place,  cite,  quartz,  sword, 
schism,  science. 

11.  Thi  is  found  in  then,  father  and  bathe. 

12.  Ith  is  found    in  thin,  bath,  viithe,  fifth,  width  and 
hundredths. 

13.  Di  is  found  in  deed,  muddy,  bobbed,  odelium,  treated 
and  deeded. 

14.  Ti  is  found  in  tight,  tuft,  butt,   Thomas,  phthisic, 
yatch,  hoped  and  snatched. 


48  THE   KIROGRAFIK   TEECHER. 

15.  Ni  is  found  in  wight,  known,  impugrn,  pend,  demesne, 
gnaw, 

16.  Zhi  is  found  in  azure,  decision  and  measure. 

17.  Shi  is  found  in  she,  wish,  sure,  ancient,  motion,  con- 
science, mission,  crustaceous. 

18.  L  is  found  in  all.  Isle,  lull,  and  Ll&n  (Welsh). 

19.  Ji  is  found  in  Joy,  (/em,  age,  edge,  and  singe. 

20.  Chi  is  found  in  c/iill,  each,  wretch,  Dutch. 

21.  Hi  is  found  in  he  and  be/iold. 

22.  R  is  found  in  are,  air,  myrrh,  burr,  rich,  poor,  horrid, 
wrong,  Rhine. 

23.  Ich  or    Och   is   found   in   Loc/t,    Ocht     and   Dach. 
[Scotch,  Irish,  German  and  Polish  c/t.] 

24.  (?i  is  found  in  go,  ghost,  sagged,  gagged. 

25.  Ki  is  found  in  Jdck,  cap,  c/iromo,  gueen,  ac/ie,  sceptic, 
C/trist,  school. 

26.  Ing  is  found  in  sirzgf  and  single,     The  n  and  g  have 
the  Ni-Gi  sound  in  such  words  as  en-grulf ;   and  the  Ni-Ki 
sound  in  enquire. 

DOUBLE  CONSONANT  SOUNDS. 
d.     1 .     Ks  is  equivalent  to  X  in  explain. 

2.  Gz  is  equivalent  to  X  in  exact. 

3.  Ngk  is  found  in  ink,  thinA:,  uncle, 

4'     Ngks  is  found  in  \Anx  and  Imcc-eyed. 
5.     Ng-Gi  is  found  in  hunger   liung-ger,  singer  sing-ger, 
linger  ling-yer,  finger  iing-ger  and  congress  kong-gres. 

REM. — 35.  E  before  /  is  silent  in  shovel,  (vl~)  hazel,  ravel,  mantel, 
shrivel,  snivel  and  weasel;  but  in  most  words  the  e  is  sounded.  / 
is  also  silent  before  I  in  devil,  (vl)  evil,  civil,  but  sounded  in  civilian 
Most  words  ending  in  en  and  on  have  the  e  silent  as  in  golden 
goldn,  hohlen,  reason  reazn,  and  treason  treazn;  but  they  are 
sounded  in  chicken,  sudden,  women,  linen,  woolen,  kitchen,  hyphen, 
upon,  thereon  and  whereon. 


LESSON  VII. 

JOINED    SIGNS. 

11.  When  consonants  are  joined  together 
cither  with  or  without  vowels,  they  are  written 
without  lifting  the  pen — the  second  commencing 
where  the  first  ends,  etc.  They  are  always 
struck  in  the  direction  which  will  secure  the 
most  acute  angles  in  the  word  outline.  In  cases 
where  equally  good  outlines  are  secured  by 
striking  in  two  directions,  the  choice  always 
should  be  in  favor  of  the  slanting  upward  or 
horizontal  direction. 

a.  The  following  signs  are  written  in  two  directions  when 
good  angles  demand  it,  viz.  :  Tf7,  Wlii,  Fi,  Fi,  Bi,  Pi,  Mi, 
ZJii.  Shi,  L,  Ji,  (7/a,  //*',  R  and  Ing.  Zi  and  Si  may  be 
written  in  any  direction,  but  usually  horizontal  when  alone, 
and  slanting  up  or  down  forty-five  degrees  when  joined  to 
other  signs — they  are  also  joined  with  the  open  and  shut 
loop  to  other  signs  when  convenient.  (See  Phonic  Reading 
Exercise  IX  and  Drill  No.  14.) 
4 


THE  KIROGRAFIK   TEECHER. 
DRILL  NO.  12. 

JOINED    CONSONANTS. 


a. 


A  A  n  A 


REM.— 36.  If  these  exercises  are  thoroughly  mastered,  the  prac- 
tical application  of  the  general  principles  governing  in  joining 
signs  will  be  familiar  to  the  student.  Practical  illustrations  of  this 
kind  are  much  preferable  to  a  profusion  of  rules,  which  necessarily 
most  have  exceptions.  The  best  angles  and  most  beautiful  word 


THE  LITERARY  STYLE. 


51 


oittline*,  are  the  only  rules  governing  in  these  joinings.  These  com- 
binations are  all  made  in  harmony  with  the  geometrical  principles 
explained  in  Lesson  V.  The  pupil  should  read  these  Exercises  by 
mentally,  or  otherwise  expressing  the  name  of  each  joined  con- 
sonantal combination,  as  already  alluded  to  in  a  previous  Lesson. 


PHONIC  READING  EXERCISE  VIII. 


A  2 


THE   KIROGRAFIK   TEECHEli. 


WRITING  EXERCISE  VIII. 

Moove,  miff,  muff,  mob,  Mapes,  map,  mop,  mope,  mim, 
maim,  mem,  mam,  mum,  maze,  muzzy,  miss,  mace,  mess, 
mass,  muss,  moss,  moose,  mice,  mouse,  muse,  mith,  meth, 
math,  moth,  mouth,  meed,  mid,  made,  med,  mad,  mud, 
Maud,  mode,  mood,  mewed,  meet,  mit,  mate,  met,  mat,  mut, 
motto,  mote,  moot,  mite,  mute,  mean,  minnie,  mane,  men, 
man,  money,  moan,  moon,  mine,  mish,  mesh,  mush,  mash, 
meal,  mill,  mail,  inell,  mal,  mul  inaul,  mol,  mole,  mile,  moil, 
mule,  midge,  medge,  Madge,  mudge,  match,  much,  mere, 
mare,  myrrh,  mar,  m&r,  more,  Moore,  mire,  mig,  meg,  mag, 
mug,  mog,  meek,  mick,  make,  mek,  mack,  muck,  mock, 
mike,  ming,  meng,  maug,  mung,  mawing,  mong,  mowing, 
mooing,  mewing. 

PHONIC  READING  EXERCISE  IX. 


THE   LITERARY    STYLE. 


WRITING  EXERCISE  IX. 


53 


Ye've,  you've,  yeas,  ewes,  you,  }Tes,  use,  using,  jrouth, 
you'd,  Yates,  yet,  yacht,  yawn,  yon,  yield,  Yale,  yell,  yawl, 
you'll,  yidge,  year,  yard,  yore,  j'our,  yoke,  ying,  yeng,  yang, 
yong,  yankee,  young,  Yingling,  were. 

Zouave,  zoof,  zebra,  zip,  zim,  zem,  zum,  zez,  zaz,  zooz, 
zis,  zes,  zas,  zus,  zaas,  zith,  zed,  zide,  Zenas,  zone,  zounds^ 
zish,  zeal,  Czar,  Zoar,  zigzag,  Keke,  zack,  zing,  zang,  zung, 
zink,  sink,  sunk,  sinking,  Sankey. 


DRILL  NO.  13. 

JOINED   CONSONANTS. 


54 


THE   KIROGRAFIK   TEECHER. 


WRITING  EXERCISE  X. 

Sieve,  save,  sev,  sift,  safe,  sef,  saf,  suffer,  sib,  seb,  sab, 
sub,  sob,  sip,  sep,  sap,  sup,  sop,  soap,  soop,  seem,  sim, 
same,  sem,  sam,  sum,  psalm,  sees,  says,  sez,  sawes,  sowes, 
sews,  size,  souse,  siss,  ses,  sas,  sus,  sauce,  seethe,  sith, 
sayeth,  Seth,  sath,  suth,  saweth,  soweth,  sigheth,  seed,  said, 
sad,  sud,  sawed,  sod,  sowed,  sued,  sighed,  seat,  sit,  set,  sat, 
sought,  sot,  soot,  site,  seem,  siu,  sane,  sen,  san,  sun,  sawn, 
soon,  sign,  sound,  sish.  sash,  seal,  sill,  sail,  sell,  sal.  sul, 
Saul,  sol,  sole,  soil,  seige,  sage,  sedge,  seech,  such,  sig,  seg, 
sag,  sog,  seek,  sick,  sake,  sek,  sack,  suck,  sank,  sock,  soak, 
seeing,  sing,  seng,  sank,  sung,  sawing,  sowing,  sewing, 
sighing. 

REM. — 37.  Writing  Exercises  without  a  corresponding  Phonic 
Reading  Exercise,  should  be  corrected  by  the  teacher  when 
possible. 

DRILL   NO.    14. 

JOINED    CONSONANTS. 


THE   LITERARY    STYLE. 
DRILL  NO.  15. 

JOINED     CONSONANTS. 


WRITING  EXERCISE  XI. 

Theiving,  thief,  theft,  thibet,  theme,  them,  thumb,  these, 
this,  Thace,  thes,  thus,  thas,  those,  thither,  thud,  thod,  thoid, 
thought,  theme,  tim,  thane,  then,  than,  thunder,  thawn, 
thine,  thill,  hatch,  Theirs,  Thayer,  Thursday,  Thor,  thug, 
thick,  thack,  ting,  thang,  thank,  think. 

Dave,  dev,  dove,  dive,  deaf,  dif,  dof,  duf,  daft,  deb.  dab- 
ble, dub,  double,  daub,  dobbs,  deep,  dip,  dep,  dap,  dupe, 
deem,  dim,  dame,  dem,  dam,  dumb,  dome,  doom,  dime,  days, 
dazzle,  dues,  des,  dust,  dost,  duce,  dice,  douse, 


56 


THE   KIROGRAFIK  TEECHER. 


WRITING  EXERCISE  XII. 

Death,  doth,  dyeth,  doeth,  deed,  did,  dead,  dad,  dudds, 
Dodd,  died,  Dowd,  ditto,  date,  debt,  dat,  dot,  dote,  diet, 
doubt,  duet,  Dean,  din,  Dane,  den,  Dan,  dun,  dawn,  don, 
done,  dine,  dish,  dash,  douce,  deal,  dale,  dell,  dal,  dull,  doll, 
dole,  duel,  Doyle,  dodge,  ditch,  Dutch,  Dach,  deer,  dare,  dirt, 
door,  doer,  dire,  dower,  indure. 

Taft,  tull,  tuff,  tib,  tabe,  teb,  tab,  tub,  toby,  tube,  tip, 
tape,  tep,  tap,  top,  type,  team,  tim,  tame,  tern,  tarn,  turn, 
Tom,  tomb,  time,  tease,  'tis,  toes,  two's,  ties,  toys,  toss,  tice, 
teen,  tin,  ten,  tan,  tun,  tawny,  tone,  tying,  town,  tune,  tish, 

DRILL  NO.  16. 

JOINED    CONSONANTS. 


WRITING  EXERCISE  XIII. 

Nash,  kneel,  nil,  nail,  knell,  nal,  nuh1,  knoll,  Nile,  Newell, 
nudge,  near,  nur,  narrow,  nor,  knower,  nigher,  newer,  nig, 
neg,  nag,  nug,  nog,  nick,  neck,  knack,  nuck,  knock,  nook, 
ning,  nang,  nung. 


THE   LITERARY    STYLE.  57 

Azure,  shiver,  shave,  shev,  shove,  sheaf,  shof,  shaf,  shufle, 
sheep,  ship,  shape,  shep,  shap,  shop,  shame,  Shem,  shain, 
shum,  Shay's,  Sliaw's,  shows,  shoes,  shies,  sheathe,  sheath, 
showeth,  shoeth,  shieth,  shade,  shed,  shad,  shudder,  shod, 
showed,  shoe,  should,  shied,  sheet,  shut,  shot,  shoot,  shin, 
shun,  shone,  shine,  shale,  shell,  shall,  shawl,  shoal,  shear, 
share,  shore,  sure,  shire,  shower,  shaggy,  sugar,  shake, 
shock,  shook,  shing,  sheng,  shang. 

WRITING  EXERCISE  XIV. 

Leave,  live,  lave,  levity,  love,  live,  leaf,  Lafjr,  left,  laugh, 
loft,  loaf,  aloof,  life,  Libby,  lab,  lub,  lob,  lobe,  leap,  lip,  leper, 
lap,  lop,  lope,  loop,  limb,  lame,  lem,  lam,  loam,  loom,  lime, 
Lees,  Lizzie,  lazy,  laws,  lows,  loze,  lies,  lease,  lice,  lace,  less, 
loss,  lass,  loose,  lice,  lith,  lath,  loth,  tythe,  lid,  laid,  led,  lad, 
lud,  lode,  lowed,  lide,  Loyd,  loud,  lit,  late,  let,  latter,  lot, 
loot,  light,  lout,  lean,  Lynn,  lane,  lens,  lun,  lawn,  lone,  loon, 
line,  loin,  leisure,  Lozier,  lash,  ledge,  lodge,  latch,  lear,  lair, 
lyric,  Lord,  lore,  lyre,  lowering,  league,  leg,  lag,  lug,  log, 
log}',  leak,  lick,  lake,  luck,  lock,  look,  like,  luke,  ling,  leng, 
lang,  lung,  long,  lowing,  lieing,  allowing. 

WRITING   EXERCISE  XV. 

Jove,  jiffy,  Jeff',  jaf,  jib,  jabber,  job,  Job,  jibe,  jip,  Jim, 
jam,  jum,  Ja37's,  jaws,  Joe's,  Jew's,  juice,  Joyce,  just,  jostle, 
joist,  Judd,  jewed,  jet,  jut,  jot,  Jute,  Jean,  gin,  Jane,  John, 
Jone's,  join,  June,  gill,  jail,  jelly,  jolly,  jewel,  judge,  jeer, 
journey,  jig,  jag,  jug,  jog,  Jake,  Jack,  joke,  jingle,  jungle. 

Chieve,  Chev,  chief,  chaff,  chub,  cheap,  clu'p,  chap,  chop, 
chum,  chime,  cheese,  chose,  choose,  chase,  chess,  choice, 
chewed,  chide,  cheat,  chit,  chat,  chin,  chain,  chill,  child, 
cheer,  chair,  cherry,  charred,  chore,  chewed,  chug,  cheek, 


58 


THE   KIROGRAFIK    TEECHER. 


chick,  check,  chuck,  chalk,  choke,  ching,  cheng,  chang,  chung, 
chewing. 


DRILL  NO.  16. 

JOINED    CONSONANT-. 


WHITING  EXERCISE  XVI. 

Heave,  have,  hove,  hive,  half,  huff,  hotf,  hoof,  hub,  Hobb, 
heap,  hip,  happen,  hop,  hope,  hoop,  him,  hem,  ham,  hum, 
horn,  home,  Hume,  his,  Haye's,  has,  hawes,  hose,  Hugh's, 
hiss,  hess,  huss,  hoss,  house,  hayeth,  heth,  hath,  hoeth, 
heweth,  heed,  hid,  hade,  head,  had,  huddle,  hawed,  had. 
hoed,  hide,  hewed,  heat,  hit,  hate,  hat,  hut,  haughty,  hoot, 
height,  Hoyt,  Haynes,  hen,  hun,  hon,  hone,  hound,  hewn, 
hash,  hush,  heal,  hill,  hale,  hal,  hull,  haul,  holly,  whole, 
wholly,  Hoyle,  hawl,  hodge,  hitch,  hatch,  hotch,  hear,  hair, 
her,  hard,  horrid,  hoary,  hire,  hewer,  higgle,  haggle,  hug, 


THE    LITERARY    STYLE. 


59 


hog,  Hoag,  hick,  hack,  hock,  hoax,  hook,  hing,  hang,  hung, 
hong,  hoeing  hewing. 

WRITING  EXERCISE  XVII. 

Reeve,  rave,  rev,  rav,  rove,  rive,  reef,  riff,  ref,  raf,  ruff, 
roof,  rib,  reb,  rab.  rub,  rob.  robe,  ruby,  reap,  rip,  rape,  rep, 
rap,  rup,  rop,  rope,  ripe,  ream,  rim,  rem,  ram,  rum,  rom, 
Rome,  room,  rhyme,  raise,  rose,  ruse,  rise,  rouse,  race,  rust, 
rasp,  Ross,  rui.se,  rice,  Royce,  wreathe,  wreath,  rith,  wrath, 
wroth,  roweth,  rueth,  writhe,  reed,  rid,  raid,  red,  ruddy,  rod, 
rode,  rude,  ride,  writ,  rate,  rat,  rut,  rot,  wrote,  root,  write, 
rout,  rind,  rain,  wren,  ran,  run,  roan,  Rhine,  rowen,  rouge, 
rash,  rush,  reel,  rill,  rail,  rel,  rally,  role,  rule,  ride,  Royal, 
Rowel,  Ridge,  rage,  rudge,  reach,  reach,  rich,  wretch,  ratch, 
roach,  rooch,  rear,  rare,  roar,  rig,  rag,  rug,  rog,  rogue,  reek, 
rick,  rake,  wreck,  rack,  rock,  rook,  ring,  reng,  rang,  rung, 
wrong,  rueing. 

DRILL  NO.  17. 

JOINED    CONSONANTS. 


GO  THE   KIROGRAFIK   TEECHER. 

WRITING  EXERCISE  XVIII. 

Give,  gave,  Gough,  gab,  gob,  gobble,  gape,  gap,  Guppy, 
game,  gam,  gum,  gaze,  guzzle,  goes,  guise,  guess,  gas,  gust, 
goose,  geth,  gath,  gad,  God,  goad,  good,  guide,  gate,  get, 
gat,  got,  goat,  gout,  gain,  again,  gan,  gun,  gone,  gown, 
gash,  gush,  gill,  gale,  gal,  gull,  Gaul,  goal,  guile,  ghoul, 
engage,  gudge,  gouge,  gear,  girth,  gore,  gig,  gag,  gog,  gang, 
gong. 

WRITING   EXERCISE  XIX. 

Cave,  cough,  cove,  cuff,  calf,  cafe,  cab,  cub,  cob,  keep, 
kip,  cape,  kept,  cap,  cup,  cop,  coke,  coop,  came,  kam,  come, 
calm,  com,  comb,  coomb,  keys,  cause,  cows,  kiss,  case,  cost, 
Keith,  kith,  uncouth,  kid,  Kade,  ked,  kad,  cud,  cod,  code, 
cooed,  could,  cowled,  cued,  kit,  Kate,  ket,  cat,  cut,  caught, 
cot,  coat,  coot,  kite,  Coit,  cute,  keen,  kin,  cane,  ken,  can, 
country,  con,  cone,  coon,  kind,  coin,  cowl,  Kewen,  cash, 
cowish,  keel,  kill,  kale,  kel,  kal,  cull,  coal,  cool,  chyle,  coil, 
cage,  catch,  coach,  couch,  care,  cur,  car,  core,  kig,  keg,  kag, 
cog,  kick,  cake,  coke,  cook,  king,  keng,  kang,  king,  kong, 
cooing,  coyiug,  cawing,  cueing. 

WRITING  EXERCISE  XX. 

Tosh,  toyish,  till,  tale,  tell,  tal,  tul,  tall,  tole,  tool,  tile, 
toil,  teach,  touch,  tear,  tare,  turf,  tar,  tore,  tour,  tire,  tower,, 
teeg,  tig,  teg,  tug,  tog,  tige,  tick,  take,  teck,  tack,  tuck,  talk, 
token,  took,  tike,  ting,  tang,  tongue,  tongs,  tying,  toying, 
towing. 

Knave,  navy,  novice,  Naphey,  enough,  knife,  nib,  neb, 
nub,  nob,  neap,  nip,  nape,  nep,  nap,  nim,  name,  nem,  nam, 
numb,  noni,  nayes,  nez,  nose,  news,  noise,  neice,  ness,  nas, 
noose,  nice,  neatn,  nath,  nothing,  need,  ned,  nod,  node,  neat. 


THE  LITERARY  STYLE.  61 

knit,  net,  nat,  nut,  not,  note,  night,  Nute,  ninny,  nanny, 
nun,  non,  known,  noon,  nine,  noun. 


LESSON  VIII. 

GENERAL    PRINCIPLES. 

12.  Lineality  is  secured  in  long  words  by  hav- 
ing the  first  upward  or  downward  full  length 
sign,  as  Mi  or  Hi,  rest  on  the  line  of  writing. 
Double  length  outlines  as  Pi-Bi^  Ki-Gi,  are  di- 
vided in  the  middle  by  the  line  of  writing.  Words 
with  only  horizontals  rest  on  the  line  of  writing. 


LINE    OF    WRITING. 


o.     Words  with  Ft,  Fi,  Bi,  Pi,  Mi,  fi,  Li,  Ji,Chi,  Hi  and 
Ing  conbinations  with  each  other,  or  with  other  upward  or 


THE   LITERARY    STYLE.  63 

downward  signs,  are  written  in  both  the  up  and  down  direc- 
tion. Lineality  in  the  most  difficult  words  in  the  language, 
may  be  secured  in  this  way. 

WRITING   EXERCISE  XXI. 

Secure  lineality  as  far  as  possible  in  such  words  as  rAppro- 
brium,  appropriately,  approbation,  momentum,  vivify,  vermi- 
fuge, geneologically,  physiologically,  geologically,  theologi- 
cally, pathologically,  Lexicographically,  psychologically,  ac- 
cordingly, horticultnrally,  rockingly,  shockingly,  conglomera- 
tion. 

REM.— 38.  Double  Consonants. — As  a  general  rule,  consonant 
sounds  are  not  doubled  in  spoken  language,  and  should  not  be  in 
written  language.  Compound  words,  as  book-case,  and  termina- 
tions in  Di  or  Ti  preceded  by  the  same  sound  are  doubled  as  added, 
wedded.  Teachers  who  prefer  to  write  double  consonants  as  a  more 
accurate,  Phonic  drill,  can  do  so  in  all  cases  where  they  arc  clearly 
double  in  the  common  pronunciation.  When  the  initial  and  final  r 
sounds  are  united  in  such  words  as  peer  age-peer 'rage,  wiry-icir'ry, 
poorer-poor 'rer,  use  only  one  r  sign.  The  reason  for  this  is  found 
in  the  fact,  that  the  adoption  of  the  Scotch  practice  is  far  more 
conducive  to  simplicity  and  ease  of  utterance.  They  join  the  r  in 
all  cases,  to  the  second  syllable,  in  words  like  the  following ;  he'ro, 
glo'ry,  poo'rer,  pee'rage,  etc. 

WRITING  EXERCISE  XXII. 

Double  consonants  are  not  used  in  such  words  as  the  fol- 
lowing :  Holy,  wholly,  full}',  foully,  allot,  collect,  commute, 
correct,  attend,  apply,  annoy,  afflict,  adduce,  accrue,  abbre- 
viate, keenness,  soulless,  common,  commit,  appoint,  attract, 
connect,, afflict,  carrol,  barrel,  barren,  merry,  torrid,  horrid, 
borrowed,  furrowed,  Irish,  iris,  glory,  lurid,  poorer,  boring, 
airy,  peerage,  erring,  searing,  securing,  barrack,  period,  car- 
riage, marriage,  opportunity,  misstate,  attend,  necessary, 


64  THE    KIKOGUAF1K   TEECHER. 

illegal,  alliedge,  immoral,  arrest,  arrogate,  arrow,  array,  in- 
nocent, innovate,  account,  accrue,  acclaim,  adduce,  afflict,  af- 
fect, cannot. 

REM. — 39.  Assimilation  of  Consonants. — There  is  a  very  impor- 
tant principle  in  constant  operation  in  the  construction  and  develop- 
ment of  language,  viz :  voiced  sounds  assimilate  with  voiced 
sounds  only ;  and  voiceless  sounds  assimilate  only  with  voiceless 
Bounds ;  there  are  a  few  exceptions  found  with  the  voiceless  Ith  in 
such  words  as  breadth,  etc.,  other  exceptions  are  found  with  the 
liquids  and  nasals  Mi,  Ni,  E,  L,  Ing, — all  of  which  are  voiced 
sounds,  but  they  readily  assimilate  with  both  voiced  and  voiceless 
sounds.  This  principle  gives  a  definite  rule  for  adding  Si  or  Zi  and 
Di  or  Ti  as  terminations  to  words,  because  Zi  and  Di  unite  only 
with  voiced  sounds  and  Si  and  Ti  unite  only  with  voiceless  sounds ; 
— of  course  this  means  outside  of  the  exceptions  already  noted. 

Be  careful  to  write  Ti  in  words  that  have  this  sound,  as  hatched 
(hatcht).  Do  not  write  ed  for  Di  as  in  loved  (lovd). 

WRITING   EXERCISE  XXIII. 

Banged,  sagged,  aged,  adds,  enraged,  robbed,  loved, 
grooved,  moved,  seized,  ticks,  tricked,  etched,  its,  apt,  oaths, 
heft,  lift,  massed,  splashed,  lashed,  hissed,  passed,  best, 
kissed,  missed,  blessed,  hanged,  banked,  planked,  and,  ant, 
tempt,  damp,  heard,  hurt,  cored,  court,  breadth,  width, 
hundredth,  thousandth,  millionth,  billionth,  trillionth,  quad- 
rillionth,  decillionth,  fifth,  fifteenth,  tenth,  ninth,  eighth, 
fourth,  sixth. 

REM. — 40.  The  vocal  Thi  and  aspirate  Ith ;  are,  in  very  many 
words,  confounded  by  most  students.  A  list  of  the  common  words 
having  these  sounds  are  given  in  the  two  following  Exercises.  Th« 
word  thither  contains  both  sounds. 

WRITING  EXERCISE  XXIV. 

[The  voiced  Thi  sign.] 
Then,   this,   these,    those,   than,  that,    the,  their,    them, 


THE   LITERARY    STYLE.  fifi 

thence,  therefore,  thine,  worthy,  bequeath,  beneath,  writhed, 
heathen,  thither,  though,  thou,  thus,  thy,  thyself,  themselves, 
thereat,  therefor,  thereby,  thereabouts,  thereafter,  therein, 
therefrom,  thereof,  thereinto,  thereon,  thereout,  theirs, 
thereto,  thereunto,  thereupon,  therewhile,  thereunder,  there- 
withal, therewith,  thenadays,  thenceforth,  thenceforward, 
thencefrom,  they,  father,  fathom,  hither,  loathe,  loathsome, 
mother,  brother,  mouthed,  mouther,  breathing,  brothel, 
brethren,  southeast,  southerliness,  southerly,  southern, 
southing,  southly,  southward,  south,  (v.)  northeast,  norther, 
northerliness,  northerly,  northern,  northerner,  northernly, 
northernmost,  northing,  northward,  north-west,  whither, 
whitherward,  whithersoever,  whether,  weather,  weather-board, 
weather-cock,  weather-gage,  weather-strip,  weather-wise, 
booth,  seething,  seethe,  wreathe,  breathe,  scathe,  lithe,  blithe, 
swathe,  clothe,  scythe,  whither,  smother,  sheathe,  neither, 
either,  booth,  oaths,  burthen,  farthing,  lather,  leather, 
together. 

WRITING  EXERCISB  XXV. 

[The  voiceless  Ith  sound.] 

Broth,  breath,  mouth,  moth,  froth,  frith,  fifteenth,  fiftieth, 
fifth,  faith,  thane,  thank,  thought,  thaw,  theandric,  theanth- 
ropic,  theater,  theatre,  theave,  Theban,  Thebes,  theft,  the- 
archy,  theiform,  south,  (n.)  southdom,  southsea,  southness, 
north,  north-man,  theine,  theism,  theme,  theodolite,  north- 
most,  northiness,  Northumbrian,  northwardly,  scath,  bath, 
Theogony,  theological,  theology,  theopathetic,  theopath}', 
pith,  lath,  Lithograph,  Seth,  earth,  dearth,  nothing,  author, 
theophilanthropic,  theorem,  theorj',  Theosophical,  Therap- 
eutic, ether,  youth,  Sabbath,  Mythology,  parenthesis,  lev- 
iathan, hypothesis,  therf-bread,  therial,  thermal,  thenuo-cur- 


66  THE   KIROGRAFIK   TEECHER. 

rent,  Thermology,  antipathy,  arithmetic,  antithesis,  anathema, 
apothegm,  thermometer,  Thermoscopic,  thesis,  Thespian, 
theta,  thew,  zenith,  betroth,  bismuth,  anthem,  ethics,  method, 
truths,  troth,  thick,  thin,  thicket,  thief,  thieve,  thigh,  thilk, 
sheath,  path,  both,  myth,  plethoric,  synthesis,  thill,  thimble, 
thing,  think,  third,  thirtieth,  three,  thirl,  thirst,  thirteenth, 
thistle,  thole,  Thor,  thong,  thorax,  Thornia,  thorn,  thorough, 
Thorp,  Thoth,  thought,  thousandth,  Thrace,  thrack,  thrall- 
dom,  thrapple,  thrash,  thrave,  thraw,  thread,  threap,  threat, 
threave,  threshold,  threw,  thrice,  thrift,  thrill,  thrive,  throat, 
throb,  throe,  throne,  throng,  throttle,  throw,  thrum,  thrush, 
thurst,  thud,  Thug,  thumb,  Thummim,  thump,  thunder, 
thurl,  Thursday,  thus  (resin),  thwack,  thwart,  Thyroid, 
withe,  oath,  Pathologic,  pathos,  pathway,  Smith,  Theodore, 
sayeth,  doeth,  goeth,  lieth,  dieth,  knoweth,  roweth,  hoeth. 
RKM. — 41.  It  is  now  generally  conceded,  that  lu  loses  the  Yi 
element  when  preceded  in  the  same  syllable  by  a  Dental  consonant. 
The  reason  for  this  is  explained  by  the  fact,  that  it  is  difficult  to 
utter  the  y  element  immediately  following  the  Ji,  CM,  Zhi,  Shi,  R, 
Di,  Ti,  Ni,  Zi,  Si,  L  and  Th  sounds  when  combined  in  the  same 
syllable,  because  the  organs  of  utterance  are  already  in  a  position 
to  pass  with  perfect  ease  to  the  utterance  of  Oa  or  Uu,  and  it  is 
very  difficult  to  touch  the  intermediate  y  element.  The  tendency 
of  the  development  of  the  language  is,  to  ease  of  utterance  ;  sooner 
or  later  it  will  surely  come  about ;  hence,  the  indications  of  nature 
are,  that  all  this  class  of  words  must  be  spoken  without  the  y 
element.  We,  therefore  recommend  that  they  be  written  so,  until 
such  time  as  this  question  is  settled  by  Science. 

WRITING  EXERCISE  XXVI. 

Use  Oo  in  such  a  words  as  : 

New,  duty,  tune,  lute,  lewd,  delusion,  exclusion,  blue, 
blew,  glue,  flue,  flew,  Loo,  lieu,  lurid,  lucid,  fluid,  plural, 
lunar,  fluke,  flute,  flume,  news,  new,  nuisance,  nude,  nudity, 


THE   KIROGRAFIK   TEECHER.  R7 

suit,  soup,  sued,  sues,  superior,  superfine,  thew,  thurible, 
injure,  injury,  perjure,  exposure,  composure,  abjure,  jury, 
July,  juice,  sure,  sugar,  shoo,  shew,  shoed,  Shooke,  rue, 
rood,  rude,  brood,  brewd,  drew,  rule,  prude,  prune,  brute, 
spruce,  truce,  true,  truth,  brutal,  frugal,  rural,  rumor,  ruler, 
ruby,  Druid,  bruin,  prudish,  brew,  grew,  crew,  drew,  shrew, 
tour,  root,  issue. 

WRITING   EXERCISE  XXVII. 

Use  lu  in  such  words  as  : 

Unity,  unicorn,  uniform,  unify,  union,  unique,  unison, 
unit,  unite,  universal,  universe,  University,  univocal, 
univocation,  Unitarianisrn,  ubiquity,  actual,  amulet,  calumet, 
century,  educate,  manual,  petulent,  punctual,  regulate, 
ritual,  rivulet,  saturate,  strenuous,  titular,  tortuous,  vir- 
tuous, actuate,  document,  emulate,  fabulous,  genuine, 
globular,  gradual,  granular,  manuscript,  monument,  mutual, 
jocular,  popular,  secular,  adventurous,  ambiguous,  assid- 
uous, bituminous,  circuitous,  conspicuous,  contemptuous, 
ingenuous,  continuous,  miraculous,  perspicuous,  ridiculous, 
tempestuous,  infinitude,  impunity,  execute,  diminutive,  retrib- 
utive, rapturous,  capture,  creature,  culture,  failure,  feature, 
figure,  fixture,  flexture,  fracture,  future,  gesture,  jointure, 
juncture,  lecture,  mixture,  moisture,  nature,  nurture,  pasture, 
picture,  rupture,  vulture,  departure,  avenue,  revenue,  con- 
tinue, indenture,  measure,  pleasure,  treasure,  embrasure, 
leisure,  chew,  usury,  erasure,  disclosure,  assure,  pressure, 
fissure,  tonsure. 

REM. — 42.  The  /«  sign  should  be  used  always  when  it  begins  a 
word,  or  any  syllable  of  a  word,  although  a  Dental  consonant  pre- 
cedes it  in  the  immediate  syllable,  in  such  words  as  in  Exercise 
XXVII.  Use  the  short  Uu  sound  in  such  words  as  : 

Would,   should,   wool,    shoot,    multitude,    solitude,    longitude, 


68  THE  LITERARY   STYLE. 

latitude,  rectitude,  student,  studions,  studious,  dubious,  institute, 
constitution,  constitute,  sedulous. 

WRITING   EXERCISE  XXVIII. 

Use  Shi  for  Ch  in  words  like  these : 

1 — Shagreen,  chagrin,  chaise,  chamade,  chamois,  cham- 
pagne, champerty,  champertor,  champignon,  chancre,  chan- 
delier, chanson,  chaperon,  charade,  charlatan,  chasselas, 
chateat?,  chatoyant,  chaumontelle,  chemise,  cheval,  chevaux, 
chevalier,  chivalry,  chivalrous,  chivalric,  chevisance,  chevron, 
chicane,  chiminage. 

Use  Ki  for  Ch  in  words  like  these  : 

2 — Chalcedony,  chalcography,  chaldaic,  chalybeate,  cham, 
chambrell,  chamlet,  chameleon,  chamomile,  chaos,  character, 
chasm,  chelonian,  cheley,  chemistry,  chersonese,  chiaro- 
oscuro,  chiliad,  chilifactive,  chimera,  chiragro,  chirology, 
chirography,  chiromancy,  Chiropodist,  chirurgeon,  chlamys, 
chlorous,  chlorine,  chlorophyl,  chlorosis,  choir,  choler,  chol- 
iambic.  chondrodite,  choral,  choragus,  chord,  choreus, 
chorion,  chorography,  chorepiscopal,  chrism,  chrismatory, 
Christ,  Christendom,  chromatic,  chronic,  chronical,  chyle, 
chyme,  chrysalis,  chronography. 

Use  Gi  in  words  like  these  : 

3 — Gay,  go,  gammon,  gabardine,  gabion,  gellinaceous, 
gomphosis,  gordian,  guillotine,  grundsel,  guttural,  keg,  geese, 
geld,  get,  drugged,  gig,  giggy,  gibbous,  gibberish,  giggle, 
gild,  gil,  gimlet,  gimmal,  gird. 

Use  Ji  for  g  or  dg  in  words  like  these : 

4 — Genius,  generous,  gentian,  gentleman,  gerund,  gilli- 
flower,  gypsey,  gyve,  gyre,  mange,  cridge,  ledge,  wedge, 
bridge,  age,  sage,  rage,  adage,  change,  range,  danger,  ranger, 
prestige,  flange,  peerage,  age,  ridge,  Sedgewick,  sledge, 


THE    LITERARY   STYLE.  69 

smudge,  trudge,  danger,  stranger,  ginger,  plunger,  singeing, 
impinging. 

Some  of  the  longest  words  in  the  language : 
5 — Transubstantiations,  transmigrationary,  transporta- 
tions, disadvantageously,  theophilanthropically,  circumam- 
bulations,  circumnavigations,  circumferences,  contradictingly, 
contradictorily,  contradistinguishing!}-,  accomplishments,  ac- 
cordingly, unconstitutionally,  consequentially,  simultaneously, 
miscellaneously,  pusillanimously,  maladministrations,  adver- 
tisements, inexperienced,  plenipotentiaries,  re-incarnations, 
uncomplimentary,  mathematically,  super-inducements,  super- 
intendents, magnanimously,  extraordinarily,  perambulations, 
imprescriptible  ness,  horticulturists,  providentially,  steno- 
graphically. 

REM. — 43.  The  general  rule  for  short  Oe,  is,  to  use  it  in  unac- 
cented syllables  as  in  paragraph  1 — Exercise  XXIX.  The  words 
in  paragraph  2 — Exercise  XXIX  are  pronounced  with  the  short  Oe 
in  some  parts  of  the  country,  and  with  the  long  Oh  in  others  places. 
We,  leave  it  with  the  Teacher  to  decide  which  to  use — the  tendency 
hower,  seems  to  be  growing  towards  the  short  sound,  but  it  must 
never  be  confounded  with  the  short  u  in  up. 

WRITING  EXERCISE  XXIX. 

1 — Obey,  only,  phonic,  bravado,  Farrago,  lumbago,  octavo, 
plumbago,  potato,  tomato,  tornado,  virago,  volcano,  embargo, 
flamingo,  martello,  merino,  morocco,  palmetto,  stiletto,  to- 
bacco, buffalo,  calico,  cameo,  domino,  indigo,  nuncio,  olio, 
studio,  vertigo,  opinion,  omit,  symphony,  sycophant,  sopho- 
more, hypocrite,  pioneer,  parody,  reprobate. 

2 — Most,  only,  boat,  bolster,  bolt,  bone,  both,  broke, 
broken,  choke,  cloak,  close,  coke,  coat,  coax,  colt,  coulter, 
comb,  dolt,  folks,  goat,  hold,  homely,  home,  jolt,  load,  mol- 
ten, molt,  open,  pole,  polka,  poultice,  poultry,  revolt,  road, 


70  THE    KIROGRAFIK   TEECHER. 

rogue,  soap,  sloth,  smoke,  sofa,  spoken,  stone,  story,  swol- 
len, toad,  upholsterer,  hole,  holy,  wholesome,  rote,  wrote, 
yoke,  yolk. 

Use  Ing  in  such  words  as  these  : 

3 — Sing,  singer,  singly,  singing,  wing,  king,  whang,  bang, 
bring,  stripling,  yearling,  condemning,  contemning,  anger, 
finger,  hunger,  wronging,  longing,  longer,  stringer,  dipthongal, 
canker,  clangor,  concord,  concourse,  congress,  conquest, 
singular,  extinguish,  elongate,  delinquent,  tangle,  tingle, 
jingle,  single,  ingot,  ingle,  gangrene,  fungus,  ink,  sink,  bank, 
sank,  lank,  tank,  rank,  think,  link,  brink,  wink,  rink,  drink, 
blink,  slink,  slunk,  drink,  drank,  drunk,  bank,  canker,  func- 
tion, tinker,  trinket,  twinkle,  distinctly,  conquest,  concourse, 
concord. 

REM. — 44.  The  short  Italian  Aa  in  ask  is  given  more  prominence 
in  this  than  in  the  previous  edition.  The  tendency  is  to  use  this 
sound  in  preference  to  the  drawling  long  Ay  in  the  language.  This 
tendency  secures  grace  as  well  as  ease  in  pronunciation.  With  few 
exceptions,  nobody  in  ordinary  conversation,  drawls  out  the  long 
Ay  sound  in  the  article  act,  then,  why  write  it?  Sound  always  the 
word  aa  as  in  the  following  sentence :  "aa  picture  of  aa  kite  and 
aa  balloon  will  not  always  please  aa  boy."  Words  with  this  prefix 
should  be  written  with  the  aa  sign  as  aavoid,  aaway,  aabout.  There 
may  be  a  few  words  and  phrases  when  strongly  emphasized,  which 
will  sound  better  with  the  long  Ay  sound  as,  "Ay  mighty  maze,  and 
all  without  aa  plan."  The  word  the  is  written  with  the  short  /sign. 

NOTE  : — In  using  this  sign  for  the  word  Aa,  we  are  only  follow- 
ing in  the  footsteps  of  the  practice  in  the  public  schools  of  Massa- 
chusetts. The  series  of  "Analytical  Readers  "  of  Richard  Edwards, 
L.L.D.,  President  of  the  Illinois  State  University,  adopts  this 
practice — they  are  used  in  the  public  schools  in  this  place. 


THE  LITERARY  STYLE.  71 

WRITING  EXERCISE  XXX. 

Words  with  the  short  Italian  Aa  : 

Away,  avoid,  aft,  after,  amass,  America,  Asia,  arnica, 
algebra,  Africa,  Asa,  Arabia,  advance,  advantage,  alabaster, 
alas,  amass,  answer,  ant,  ask,  asp,  enhance,  enchant,  en- 
sample,  Arabia,  Eliza,  Iowa,  Waft,  vast,  veranda,  fast,  flask, 
bask,  basket,  blast,  branch,  brass,  bass,  blanch,  bath,  pass, 
past,  pastor,  pastime,  plaster,  prance,  polka,  pasture,  pilas- 
ter, path.  Mass,  mask,  mast,  mastiff,  mischance,  Minnesota, 
Martha,  staff,  slant,  sample,  slander,  surpass,  soda,  Celia, 
shaft,  dance,  dastard,  Deborah,  disaster,  draff,  draft,  draught, 
task,  trance,  Noah,  last,  lance,  launch,  lass,  lava,  Laura,  Julia, 
chaff,  chance,  chandler,  chant,  hast,  hasp,  Hannah,  raff,  raft, 
rafter,  rasp,  repast,  gasp,  glance,  glass,  graft,  grass,  ghastly, 
graff,  graft,  grant,  grasp,  Georgia,  cask,  cast,  clasp,  class, 
Cuba,  Canada,  Cora,  Cordelia,  Clara,  casket,  castle,  contrast, 
craft,  quaff,  Augusta,  Anna,  Indiana. 

HEM — to.  The  vowel  sound  Eu  in  her  is  one  of  the  most  frequent 
sounds  in  the  language.  It  is  to  be  regretted  that  it  is  not  used 
with  more  regard  for  unvarying  rules.  Terminations  having  the 
same  meaning  should  always  have  the  same  orthography.  Even 
when  they  are  of  different  Etymological  derivation,  they  should  be 
made  to  conform  to  the  proper  dress  belonging  to  that  termination. 
To  write  the  agent  or  doer  in  such  words  as  stayer,  layer,  prayer, 
worker,  weigher,  with  Eu  in  the  termination,  should  be  followed 
with  uniformity  in  Doctor,  author,  abettor,  Mayor  and  minor.  It  is 
an  insult  to  a  child's  reason  to  have  it  otherwise.  The  adjective 
termination  ought  to  be  different  in  the  language.  We  merely  sug 
gest  that  adjectives  might  be  written  with  the  E,  and  common 
nouns  ending  in  R  might  be  written  without  the  vowel,  as  papr  for 
paper ;  such  practice  would  improve  the  language  and  remove  one 
of  its  inconsistencies — we  only  offer  it,  however,  as  a  suggestion. 

NOTE  1.  Such  words  as  curry  and  hurry  are  usually  pronounced 
with  the  short  u  sound  as  in  up.  The  sounds  Ay-En  in  prayer  (one 
who  prays),  must  not  be  confounded  with  the  Ai  sound  in  prayer 
(a  petition  or  supplication),  etc. 


72  THE   K1ROGRAFIK    TEECHER. 

NOTE  2.  Max  Miiller  in  his  second  series  of  lectures  on  the 
"Science  of  Language,"  page  134,  Sec.  7,  says:  "There  is,  besides, 
the  most  troublesome  of  all  vowels,  the  neutral  vowel,  sometimes 
called  Uroocal.  Professor  Willis  defines  it  as  the  natural  vowel  of 
the  reed,  Mr.  Ellis  as  the  voice  in  its  least  modified  form.  Some 
people  hear  it  everywhere,  others  imagine  they  can  distinguish  va- 
rious shades  of  it.  We  know  it  best  in  short  closed  syllables,  such 
as  but,  dust,  etc.  It  is  supposed  to  be  long  in  absurd.  Sir  John 
Hershel  hears  but  one  and  the  same  vowel  in  spurt,  assert,  bird,  vir- 
tue, dove  oven,  double,  blood,  Sheridan  and  Smart  distinguish  be- 
tween the  vowels  heard  in  bird  and  work,  in  whirl'd  and  world. 
There  is  no  doubt  that  in  English  all  unaccented  syllables  have  a  ten- 
dency towards  it." 

WRITING   EXERCISE  XXXI. 

1 — Words  with  the  sound  of  Eu  in  her : 

Inferred,  infernal,  urge,  other,  earth,  error,  early,  earn- 
est, were,  word,  world,  worthy,  weigher,  worker.  Whirr, 
whirl,  Verde,  verdant,  verses,  versus,  vertical,  verdure,  virtue, 
vernon.  Fir,  fur,  furrier,  further.  Bird,  burn,  burr,  burden, 
burrow,  birth.  Purr,  pur,  per,  prayer,  (one  who  prays), 
payer,  person,  pertinate,  perquisite,  perpetrate,  perturbation, 
pervious,  persecutor,  persevere,  perquisite,  perpetrate,  per- 
manent, permeate,  perjurer,  perforate,  perfector,  proper, 
prompter.  Mercy,  mirth,  myrrh,  myrtle,  maternal.  Yearn. 
Sir,  cir,  circum — ,  circle,  certain,  surd.  Third,  thorough, 
thermal.  Dirt,  dirge,  durham.  Term,  turn,  Turk.  Nurture. 
Shirley,  supernal,  slayer.  Lurk,  learn,  layer.  Journey. 
Churn,  church.  Her,  hurt,  herd,  healer.  Gurney,  girt,  gird, 
girdle.  Kurd,  curd,  cur,  curdle,  carder,  cooper.  Recur, 
curfew,  furlong,  disbursed,  purring,  recurring,  furry, 

2. — Words  with  E  in  en: 

Very,  ferry,  ferule,  berry,  bury,  perry,  peril,  perilous, 
merry,  derry,  Terry,  sherry,  Jerry,  cherry,  heritage,  Gerry, 
Peradventure,  peregrinate,  peremptory,  perish,  periwig,  per- 
haps, etc. 


THE  LITERARY  STYLE. 


WRITING  EXERCISE  XXXII. 


73 


Jaw  breaking  words  : 

Phagedeua,  phenomena,  phaeton,  phalangious,  phalanx, 
phantasmagoria!,  pharmaceutically,  phenicopter,  phenoga- 
mian,  philanthrophj*,  philanthropic,  phlegmatic,  phosnix, 
phthisis,  phthisic,  pneumatic,  pneumatology,  pneumatocele, 
polynomial,  polyonomous,  polyphylkxis,  polysyllabicaly, 
psanimite,  pseudo,  pseudochina,  pseudonymous,  psittaceous, 
psoas,  psora,  physchology,  j)sychomancy,  ptarmigan,  ptisan, 
ptolemaic,  ptyalism,  ptysmagogne,  Czar,  Ctesilas,  Ctesiphon, 
bdellium,  gnostic,  larynx,  laryngean,  schism. 

PHONIC   READING   EXERCISE  XXXII. 
Jaw  breaking:  words  : 


LESSON  IX. 

ACQUIREMENT   OF    SPEED. 

13.  The  first  step  necessary  lor  every  student 
to  take,  in  the  acquirement  of  speed,  is  to  thor- 
oughly master  the  Alphabet,  directions  for  writ- 
ing the  Signs,  elements  of  Phonetic  Analysis, 
Joinings,  Drills,  and  Phonic  Reading  Exercises. 
The  more  thorough  the  work  is  performed  in  this 
mastery  of  the  elementary  principles,  the  sooner 
the  pupil  will  be  prepared  for  the  next  step. 

The  second  step,  is  the  practical  acquirement 
of  the  highest  speed  compatable  with  the  tem- 
perament of  the  pupil.  The  student  should  be- 
gin a  series  of  Drills  on  the  elements  by  pract- 
icing on  the  Alphabetical  Signs,  until  both 
consonants  and  vowels  can  be  written  in  about 
fifteen  seconds  of  time.  Then  begin  practice  on 
the  Joinings,  Drills,  Writing,  and  Phonic  Read- 
ing Exercises,  until  they  can  be  written  with  the 
greatest  mechanical  rapidity.  Then  practice 
from  dictation,  by  having  the  reader  or  speaker 
dictate  so  as  to  tax  the  writer's  powers  to  the 


THE  LITERARY  STYLE.  75 

utmost,  for  a  short  time  every  day,  for  five  or  ten 
minutes.  Then  let  this  practice  be  carried  into 
other  fields  of  Literature,  Composition,  or  Cor- 
respondence, until  the  acquirement  of  speed  has 
been  equal  to  at  least  double  that  of  the  common 
long-hand  script.  Some  will  gain  a  speed  equal 
to  three  or  more  times  that  of  the  ordinary  script, 
but  persevering  practice  is  the  only  short  road  to 
success.  The  school  room  is  the  natural  place 
to  begin  the  study  of  Kirografy. 

HOE  YOUR  OWN  ROW. 
Alice  Gary. 

1.  I  think  there  are  some  maxims 

Under  the  sun, 
Scarce  worth  preservation ; 

But  here,  hoys,  is  one 
So  sound  and  so  simple 

"Tis  worth  while  to  know; 
All  in  a  single  line, 

How  your  own  row  ! 

2.  If  you  want  to  have  riches, 

And  want  to  have  friends. 
Don't  trample  the  means  down 

And  look  for  the  ends ; 
But  always  remember, 

Wherever  you  go, 
The  wisdom  of  practicing 

How  your  own  row ! 

3.  Don't  just  sit  and  pray 

For  increase  of  your  store, 
But  work ;  who  will  help  himself, 


76  THE  KiRixniAFiK  TEECHKR. 

Heaven  helps  more. 
The  weeds,  while  you're  sleeping, 

Will  come  up  and  grow, 
But  if  you  would  have  the 

Full  ear,  you  must  hoe  I 

4.  Nor  will  it  do  only 

To  hoe  out  the  weeds, 
You  must  make  the  ground  mellow 

And  put  in  the  seeds  ; 
And  when  the  young  blade 

Pushes  through,  you  must  know 
There  is  nothing  will  strengthen 

Its  growth  like  the  hoe! 

5.  There's  no  use  of  saying 

What  will  be  will  be- ; 
Once  try  it,  my  lack-brain, 

And  sec;  what  you'll  see! 
Why,  just  small  potatoes, 

And  a  few  in  a  row; 
You'd  better  take  hold,  then, 

And  honestly  hoe! 

HOE  YOUR  OWN  ROW. 

AHr*'   C'arii, 


THE  LITERARY  STYLE. 


77 


78 


THE   KIROGRAFTK   TEECHER. 


THE  LITERARY  STYLE.  79 

EDUCATION. 
Phillips. 

Education  is  a  companion  that  no  misfortune  can  depress, 
no  clime  destroy,  no  enemy  alienate,  no  despotism  enslave  ; 
at  home  a  friend,  abroad  an  introduction,  in  solitude  a  solace, 
in  society  an  ornament.  It  chastens  vice,  it  guides  virtue,  it 
gives  at  once  a  grace  and  government  to  genius,  Without  it 
what  is  man  ?  A  splendid  slave  !  A  reasoning  savage,  vas- 
cillatiug  between  the  dignity  of  an  intelligence  derived  from 
God,  and  the  degradation  of  passions  participated  with 
brutes ;  and  in  the  accident  of  their  alternate  ascendency, 
shuddering  at  the  terrors  of  an  hereafter,  or  embracing  the 
horrid  hope  of  annihilation.  Without  education  what  is  this 
wondrous  world,  man's  residence? 

"A  mighty  maze  and  all  without  a  plan  ;"  a  dark  and  deso- 
late, and  dreary  cavern,  without  wealth  or  ornament,  or  order. 
But  light  up  within  it  the  torch  of  knowledge,  and  how  wond- 
rous the  transition !  The  seasons  change  (with  new  mean- 
ing) ,  the  atmosphere  breathes  (with  a  fragrance  imparted  by 
invisible  flowers) ,  the  landscape  leaves  (in  the  light  of  new 
radience),  earth  unfolds  (fairer  fruits),  ocean  rolls  (in  more 
magnificence),  the  heavens  display  their  constellated  canopy, 
and  the  grand  animated  spectacle  of  nature  rises  revealed  be- 
fore him  ;  its  varieties  regulated,  its  mysteries  resolved  :  The 
phenomena  which  bewilder,  the  prejudices  which  debase,  the 
superstitions  which  enslave  vanish  before  education.  Like 
the  holy  symbol  which  blazed  upon  the  cloud  before  the  hesit- 
ating Constantine,  if  man  but  follow  its  precepts  purely,  it 
not  only  will  lead  him  to  the  victories  of  this  world,  but  open 
the  very  portals  of  omnipotence  for  his  admission. 


80 


THE  KIROGRAFIK  TEECHER. 


EDUCATION. 

Phillips. 


THE  LITERARY  STYLE. 


81 


LMN8ON  X. 

ALPHABETICS. 

a.  Alphabetics  is  the  science  or  art  of  transcribing  lan- 
guages by  an  alphabet.     It  may  properly  be  subdivided  into 
four  branches,  viz:      1. — Phonology   or  the   art  of   making 
Phonetic  Analysis  of  the  elementary   sounds   of  Language : 
2. — Chirography    (Kirograty)    or  the  art  of  writing:     3. — 
'typography  or  the   art   of  printing :     4. — and  Stenography 
(Stenografy)  or  the   art  of  writing  in  short-hand,   by  using 
abbreviations. 

b.  It  is  self-evident  that  there  can  be   no  real  science  or 
art  of  Alphabetics,  unless  it  is  founded  upon  the  simple,  but 
all  potential  laws  of  Mathematics.     To  place  the  science  on 
this  foundation  will  secure  a  common  or  Universal  Alphabet 
adapted  for  the  transliteration  or  transcription  of  all  lan- 
guages with  practically  one  alphabet  for  common  script,  type, 
and  short-hand.     A  common  Mathematical,  Kirografik,  Typo- 
grafik  and  Stenografik  Alphabet  should  be  as  far  as  possible; 
an  embodiment   of  these   five   essential  conditions.     Other 
essential  conditions  are  needful  such  as  securing  an  alphabet 
that  is  pleasing  to  the  eye,  graceful  in  appearance  and  which 
does  not  have  too  many   letters  with   extended  comet  like 
tails,  either  below  or  above  the  line  of  writing.  The  beauty  of 


THE  LITERARY   STYLE.  83 

the  Roman  t}"pe  is  marred  by  too  man}'  of  such  letter  forms. 

c.  The  Mathematical  Alphabet  presented  here  is  nearly 
completed  for  all  the  languages  in  the  world.     It  will  be  ex- 
tended in   "•  How  to  Make  the  English  Language  Scientific 
and  Universal."     The  fundamental  difference,   between   the 
script  and  short-hand  signs  and  the  t}"pe  letters,  is  that  there 
is  an  open  or  shut  circle  added  to  the  script  signs  for  the  type 
letter.     Each  type  letter  has  some  part  of  it  struck  in  the 
same  direction  as   the    corresponding   script   sign.     Capital 
signs  or  letters  may  be  shaded  or  made  thick  in  some  part  of 
the  sign  for  script,  and  enlarged  in  size  for  type  letters. 

d.  The  chaotic  conglomeration  called  an  Alphabet,  now 
in  common  use  for  script  and  type,  requires  a  child  to  master 
about  a  half  dozen  Alphabets  to  acquire  what  might  be  ac- 
complished with  one  Mathematical  Alphabet.     No  apology  is 
required  for  adding  another  new  one  to  the  long  list  already 
before  the  public.     The  fact  that  none  of  them  even  attempt 
to  secure  one  Alphabet  for  script,  short-hand  and  type,  is  suf- 
ficient reason  for  presenting  this  one.     If  years  of  labor  and 
time  can  be  spared,   to  the  unborn  millions  of  the  coming 
future,  by  the  adoption  of  an  Alphabet  based  on  this  princi- 
ple— and  it  can,  then  it  is  the  duty  of  all  humanitarians  to 
encourage  such  a  desirable  Alphabetic  reform. 

e.  It  will  not  be  necessary  to  have  a  complete  new  set  of 
steel  dies  made,  in  order  to  make  practical  use  of  the  type 
letters  in  the  Mathematical  Alphabet.     By  cutting,  filing  and 
reversing,   such  letters  as  u,  h,  q,  d,  a,  o,  c,  e,   Q,  u,  s,  </, 
p.  and  figures  6,  9,  3,  can  be  made  serviceable  for  a  goodly 
number  of  the  type  letters.     Then  again  the  Ellis-Pitman 
and  other  new  alphabets,  have  dies  now  for  quite  a  number 
of  letters,  as  can  be  seen  by  a  comparison  with  the  Mathe- 
matical Alphabet. 


84  THE   MATHEMATICAL   ALPHABET. 

[A  Universal  Kirojrraflk.  Stenojrrafik  and  Typografik  Alphabet.] 


THE  LITERARY  STYLE. 


85 


THE   MATHEMATICAL   ALPHABET   KEY. 

[The  Italic  letters  are  the  English  equivalents  of  the  script  and 
type  signs  and  letters  in  the  corresponding  sections  ot  The  Mathe- 
matical Alphabet.  A  few  sections  have  Roman  accented  letters 
instead  of  italic.] 


1 

2 

9 

4 

5 

G 

7 

8 

a 

heel 

lull 

hail 

hair 

hfl 

bal 

her 

h«ll 

a 

b 

i 

Sw. 

e 

e 

F- 

pere 

G. 
Viiter 

F 

ete 

G. 

Ki'inig 

G. 
B(icke 

b 

c 

are 

ask 

haul 

holly 

hole 

obey 

pool 

pull 

c 

d 

F. 
pate 

F. 

patte 

F. 
deiix 

F. 

jcunc 

F. 

rut' 

G. 

Siindc 

d 

e 

high 

Ho^/le 

howl 

?Miite 

m  ute 

F. 
miJi 

e 

f 

F. 
an 

Pr. 

Al^m 

F. 

on 

F. 

mi 

f 

ff 

wit 

ic  hit 

uivid 

/«/e 

babe 

peep 

jiii\ini 

li)«p 

{f 

h 

G. 
wind 

L. 
ph 

San. 
l,'h 

Sail. 
p'h 

San. 
d' 

San. 
f 

h 

i 

2/es. 

G. 

chinn 

ooze 

see 

then 

thin 

did 

tif/ht 

i 

k 

Pareu. 

San. 

81 

W. 
LI 

W. 

Lluu 

Ar. 

«", 

Boh. 

t 

k 

I 

nine 

hint 

azure 

she 

ill 

lll\V 

jndf/e 

eacA 

I 

m 

carton 

Hy- 

phen 

Ellip- 
sis 

San. 
Sh 

Trill. 
I 

Trill. 

I 

San. 
fh 

San. 
eh'h 

m 

n 

'and 

/land 

Af. 
click 

Af. 
click 

San. 

t/'/i 

San. 
Vh 

San. 
d'h 

San. 
Vh 

n 

P 

air 

rich 

G. 

Tsif/« 

S. 
loch 

<Ai 

kick 

S\ny 

sink 

P 

!  r 

Trill. 
r 

Ar. 

grhnin 

Ar. 

Ain 

Ar. 

t  Hha 

L.  Sax. 
r 

L.Sax. 
r 

Trill 

Trill 

r 

s 

Gut 

.  Gut. 

Pal. 

Pal. 

Dent. 

Dent. 

Lab. 

Lab. 

s 

1 

2 

3 

4 

5 

6 

7 

8 

86 


THE   INTRICACIES    OF   A   WHEELBARROW. 

Bailey. 
[The  Literary  Style.] 


THE  LITERARY   STYLE. 


87 


THE   INTRICACIES  OF  A  WHEELBARROW. 

Bailey. 
[In  New  Type  Letters.] 


,  . 

:OO,    OQ'   &OCDQO    O0    OO    OOO     OOO  OC> 
QQQ     OOOQ    OO-'QOG.  -©' -OOQ~£>OOO 

00     0000     Q000€>GQOpCQ     ©OQ      G® 
O&OO,    OQ    GO    900     OOJ  ,06     OG©. 

0     OOQ    OOQ    9OQ-    00)OO   O(DQ •  QCQ 
000     QCO&G    eOOQ     OCD;-aQQO;0,  :O0OO 
CQOCOO     COO.  GO    'QCOOO  •'  QOQ 

OCQ     00      OO.Q      C5LO.O.    :-000  '   G'OOOO      O- 

o o  •   0.40.0 ;    '  & ob  '  •  :Q o   o  o o .  o o  Q  ©cp     oo  a 

0CQ-Q  •'   0,00       OOQ,  '•  •&0<&Q  ,'  ;O©OQ    O&OO 

!ro©a--a(S)0    OQQ  -ooo    a);0  -.00'     eo 

0(2-      adO  .    OQO      0»(DOO      OQ      QO    .  0OQCQ 

oa    a OQ,  -0ooGooOoo    00    QOQOOOOH - 
©oo  .aooocoG,    6:6    OOQO     o    00    oooo 

)Q    :  OQ000      000      OQOQ      09      00      O' 
OQQ   "CIO     QOOCQO.CQ    OQj    C©O<D0O     -Q  Q  0  , 
^00     0(D00     OOOOCO&      OQ/.QOCG   0<OOO  - 

:  QQ  €>'     0OQ...QCOOO    OOOCQ    O0 ; 

90Q      0000     €>      COO -0000     ,(DQOOQ       OO 
OOOQ.Q    •  Q00000000     OQ      OOO     0OQ,< 

'aoO^Q     ^p'- ^00,000     OOOOOQ.    00    QOQOO 

^0000  *&Pi  m    °°    !Z;000    OQ~ 

O&^QOdO   -;;0€)Q2)-0      000CQO     OOO,    &<D 

oo"  60     ooo    ooQo^o^Q    .000    o    ©« 

QOOOOOO,     OQO     QO     OOQ     GO       OOQH' 
000'    0(DQ     .(pQOGff>  iOO,  OOQ     OC 
O®      000    -.dOOOQ^;  OOQ     OQ     OOOOO 
OQ  '  0(D<&©60.  €>'    OOQ^OOO    QO 

OOCQ     00.090    Q^>0,:;0(DO    OQ   GOO    OOS)C 

ooo.cQoo   oo  OQ  oo;  ®-ooo    oooooo 

QOOO  .    OQ     000       QOOQQOG. 


THE   LITERARY    STYLE.  89 

THE    INTRICACIES   OF   A   WHEELBARROW. 

Bailey. 

If  you  have  occasion  to  use  a  wheelbarrow,  leave  it,  when 
you  are  through  with  it,  in  front  of  the  house  with  the  handles 
toward  the  door. 

A  wheelbarrow  is  the  most  complicated  thing  to  fall  over, 
on  the  face  of  the  earth.  A  man  will  fall  over  one  when  he 
would  never  think  of  falling  over  anything  else.  He  never 
knows  when  he  has  got  through  falling  over  it,  either ;  for  it 
will  tangle  his  legs  and  his  arms,  turn  over  him  and  rear  up 
in  front  of  him,  and  just  as  he  pauses  in  his  profanity  to  con- 
gratulate himself,  it  takes  a  new  turn,  and  scoops  more  skin 
off  of  him,  and  he  commences  to  evolute  anew,  and  bump 
himself  on  fresh  places.  A  man  never  ceases  to  fall  over  a 
wheelbarrow  until  it  turns  completely  on  its  back,  or  brings 
up  against  something  it  cannot  upset.  It  is  the  most  inof- 
fensive looking  object  there,  but  it  is  more  dangerous  than  a 
locomotive,  and  no  man  is  secure  with  one  unless  he  has  tight 
hold  of  its  handles,  and  is  sitting  down  on  something. 

A  wheelbarrow  has  its  uses,  without  doubt,  but  in  its 
leisure  moments  it  is  the  great  blighting  curse  on  true  dignity. 

SOUNDS  IN  FOREIGN  LANGUAGES. 

1.  The  dipthong  o  or  <K  is  found  in  several  European  languages. 
This  sound  is  somewhat  like  the  Eu  in  her,  yet  different  in  organic 
formation.  It  is  found  long  in  German  Konig,  or  short  in  Bocke. 
They  have  new  signs  as  in  the  Mathematical  Alphabet  7  b  and  8  b. 
2,  The  French  eu  is  closely  allied  to  the  German  o,  and  is  found 
long  in  French  deux,  or  short  in  jeune.  They  have  new  signs  in  5d 
and  6d :  3,  The  French  ne  or  u  and  German  u  are  nearly  similar 
to  Eu  in  fur,  but  more  prolonged.  They  are  intermediate  between 
u  in  up  and  German  o,  and  combine  the  sounds  of  un  and  ee.  They 
are  found  long  in  French  du,  rue,  German  iiber,  or  short  in  French 
hutte,  German  Siinde,  liicke.  They  have  new  signs  as  in  Id  and  8cl. 


90  THE    KIROGRAFIK   TEECHER. 

2.  The  general  principle  governing  in  the  assignment  of  signs 
to  sounds  in  Foreign  languages,  is  to  provide  a  uniform  alphabet  of 
signs  and  letters  for  the  same  or  similar  sounds.     This  is  accom- 
plished by  modifying  the  signs  or  letters  as  used  for  English  sounds. 
In  the  actual  practice  of  penmanship  in  Foreign  languages  all  these 
nearly  related  sounds  should  be  written  with  the  script  sign  used 
for  the  nearest  related  or  modified  sound  in  English,  but  modified 
signs  for  type  should  always  be  used  in  printing.     But  in  transcrib- 
ing words  from  Foreign  languages  into  English  the  modified  signs 
should   be   used   where  accurate  pronunciation  is  required.     This 
accommodating  practical  arrangement  will  prevent  unnecessary 
confusion.     The  abrupt  or  stopped  short  vowels  in  met,  mit,  mat, 
mut  are  taken  as  the  extreme  of  short-vowel  sounds  and  are  written 
without  moclifers. 

3.  The  sounds  of  Foreign  languages  can  be  designated,  near 
enough  for  all  ordinary  literary  purposes,  by  adding  modifiers  to 
them  to  indicate  either  a  lengthened  or  shortened  sound.     A  glide 
added  to  a  sound  can  be  designated  in  this  manner  when  necessary. 
The  following  principles  govern  in  the  assignment  of  modifiers  to 
signs,  viz:     1,     A  short  tick  added  to  any  sign  or  letter,  when 
struck  at  right  angles,  indicates  that  the  sound  is  similar  but  more 
or  less  prolonged  than  in  English :    Example,  German  a  in  Vater, 
which  is  similar  to  a  lengthened  English  e  in  men,  as  shown  by  its 
sigu  in  5  b :    2,     A  short  tick  added  to  any  sign  or  letter,  when 
struck  at  acute  angles,  indicates  that  the  sound  is  similar  but  more 
or  less   shortened  than   in  English :    Example,  French  e  in  pere, 
which  is  similar  to  a  shortened  English  ai  in  air,  as  shown  by  its 
sigu  in  4  b.     The  i  in  1  I,  &  in  3  b,  Swedish  e  in  2  b  and  French  e  in 
G  b  are  examples  of  shortened  vowel  sounds  found  in  Foreign  lan- 
guages, as  shown  by  their  respective  signs. 

4.  Nasalization  of  vowel  sounds  are  common  in  French,  Port- 
uguese and  some  other  languages.     The  nasal  vowel  sounds  as 
represented  by  an,  on,  an,  in,  en  or  em  never  have  the  consonant 
sounded.     They  are  produced  by  having  a  portion  of  the  sounding 
breath  escape  through  the  nasal  passage-way  in  sounding  the  vowel. 
Nasalization  is  indicated  by  attaching  a  dot  to  any  sign  as  shown 
in2/. 

5.  The  trilled  r  is  found  in  European  languages,  perhaps  the 


THE   LITERARY    STYLE.  91 

sound  in  English  terror  may  give  an  idea  of  it;  or  better  the  Arabic 
grhain  or  Northumberland  lunjrh.  The  trilled  r  is  represented  as 
in  1  r  and  2  r :  and  the  trilled  I  as  in  5  m  and  6  m.  The  sign  and 
letter  for  Trills  is  given  in  7  r  and  8  r. 

6.  The  hard  or  surd  aspirates  k'h,  t'h,  p'h,  etc.,  occur  in  Greek 
and  Sanskrit  in  connection  with  the  consonants  k,  t,  p.     They  are 
represented  by  joining  the  Hi  sign  to  the  other  consonant  signs  as 
shown  in  6  n  :    2,  The  soft  aspirates  are  of  frequent  occurrance  in 
Sanskrit.     They  are  found  also  in  French,  Italian,  Spanish  and 
Portuguese  so  strongly  aspirated  that  the  Euglish  ear  does  no  easily 
recognize  them.     They  occur  in  connection  with  the  voiced  con- 
sonants ffh,  d'h,  6'A,  etc.,  and  are  represented  with  the  'h  or  hie  sign 
as  shown  in  5  n. 

7.  The  Dutch  sch  is  similar  to  English  sk,  but  harsher  and  more 
guttural,  the  German  sch  sounds  like  sh.  but  the  Italian  sch  sounds 
like  k :     2,    The  sound  represented  by  the  sigh  Och  in  3  p,  is  found 
in  Scotch  loch,  Irish  Och!  and  German  daeh.     Its  short  cognate  is 
found   in   German    Tage.     This  sound  formerly  belonged  to  such 
words  as  through,  though,  etc.,  in  English;  and  it  is  still  extant  in 
Gaelic  :    3,   The  cognate  of  y  is  found  in  German  China  or  ich  and 
Is  a  harder  sound  than  y  in  year.     Its  sign  is  shown  in  2  i :     4, 
The  German  and  Swedish  z  has  the  sound  of  English  ts ;  the  Ital- 
ian z  sounds  like  English  dz  and  zz  like  ts.  The  Hungarian  cz  sounds 
like  English  ts.   All  these  sounds  are  represented  by  using  the  signs 
for  their  English  equivalents. 

8.  All  mouille  or  softened  Palatal  Consonants,  as  in   Spanish 
ano,  French  famille  familye,  and  English  canon  are  represented  by 
adding  a  y  or  iu  sign  to  them  as  in  1  m :    2,   The  n  in  link  repre- 
sents nearly  a  sound  found  iu  many  European  languages  and  is  re- 
presented by  a  halved  ng  sign  as  in  8  p. 

FOREIGN   DOUBLE   VOWELS. 

9.  Double  vowels  are  of  very  frequent  occurrance  in  some  foreign 
languages,  and   in  English  there  are  several  of  them.     They  are 
always  represented  by  joining  together  the  signs  for  their  simple 
elementary  sounds,  viz  :     1,    Oo-ah  is  found  in  Zouave.     The  French 
dipthong  oi  is  similar  and  is  sounded  like  w-ah  or  oo-ah  as  in  Moi. 
They  are  represented  as  in  7  « :    2,   Short  i  in  it  is  joined  with  its 


92  THE   KIROGRAFIK   TEECHER. 

small  circle  sign  as  ee-i  in  being,  ay-i  in  clayey,  au-i  in  Caughey, 
oh-i  in  owing,  oo-i  in  Louis,  long  ie-i  in  eyeing,  oy-i  in  coying,  ou-i 
in  bowing,  iu-i  spewing,  i-u  in  plenteous  :  3,  Other  combinations 
of  double  vowels  are  found  as  long  ie-u  in  pious,  oh-e  in  owed,  ay-eu 
in  player,  long  ic-en  in  dyer,  ou-cu  in  shower,  oh-en  in  sower :  3, 
Another  numerous  class  are  represented  in  some  languages  by  join- 
ing short  uu  in  put  to  other  signs,  thus  :  Ee-uu,  i-?eii,  ay-uit,  ai-iiu, 
e-uu,  a-uu,  u-uu,  ah-wi,  aa-uu,  an-uu,  o-uu,  oh-uu,  oo-uu,  uu-uu,  etc. 
This  scale  is  extended  by  joining  the  uu  before  all  other  simple 
vowels  in  some  languages :  4,  A  'lipthong  represented  in  some 
European  languages  by  ei  or  ey  is  equivalent  to  ay-ce.  All  possible 
dipthougs  are  represented  by  joining  together  the  signs  for  their 
simple  elements. 

10.  The  w  in  German  and  some  other  languages,  is  nearly  like 
English  v  uttered  by  the  lips  alone  or  without  the  aid  of  the  teeth, 
as  in  Quelle.     The  Spanish  b  is  also  nearly  like  our  v  and  is  formed 
by  bringing  the  lips  loosely  in  contact  with  each  other.     It  is  often 
interchanged,  as  in  Cordoba  for  Cordova,  etc.     The  cognate  of  this 
sound  is  lound  in  Greek,  and  in  Latin  ph.    These  sounds  are  written 
with  v  and/ as  in  3 h  and  4  h. 

DIAMOND   POINT   SIGNS. 

11.  The  Diamond  point  signs  are  added  to  other  signs,  to  indic- 
ate, Guturalization,  Palatalization,  Deutalization  or  Labialization  of 
sounds,  viz  :     1,    In  Sanskrit  we  find,  besides  the  ordinary  dentals  £, 
th,  d,  etc.,  the  linguals  or  cacuminals  (cerebrals,)  represented  by  t', 
th't  d',  etc.     They  may  properly  be  represented  by  adding  Palatal 
Diamond  point  3  s  or  4  s  to  them  as  in  7  h  and  8  h :     2,    In  Arabic 
we  find,  besides  the  ordinary  dentals,  another  set  of  linguals  called 
the  "Semitic"  or  Arabic  Guturalizations,  which  are  represented  by 
the  Diamond  point  in  1  r  or  2  r.     The  Arabic  voiced  Ain  in  3  r  and 
its  cognate  Hha  in  4  r  are  examples  of  this  class  of  sounds.     Ac- 
cording to  Max  Miillcr  they  are  between  the  Och  and  Ich  and  the 
deep  guttural  r  of  the  Low  Saxons  and  the  French  Provencal  trilled 
r.     3,   The  dental  t  found  in  Spanish  and  some  other  languages,  and 
the  dorsal  t  of  Bohemia,  may  both  be  represented  by  the  Diamond 
point  in  5  s  and  G  s,  as  shown  in  8  k :    4,   The  Diamond  point  in  7  s 
and  8  s,  ,may  be  used  to  express  Labialization  of  sounds  when 
necessary. 


THE   LITERARY   STYLE.  93 

12.  The  peculiar  African  or  Zulu  Kafir  clicks  are  represented  as 
in  3  n  and  4  n. 

13.  All  modifiers   for  Trills,  Clicks,  Aspirations,  Nasalizations, 
Gutnralizatious,  Palatalizations,  Dentalizations,  and  Labializations 
of  sounds,  are  joined  after  signs  in  script ;  hut  in  print,  these  letters 
are  kept  independent,  and  are  inserted  after  the  sign  to  which  they 
belong.     It  has  not  been  thought  necessary  to  give  illustrations  of 
these  print  letters  as  used — the  script  signs  have  only  been  given 
as  in  5  n,  etc. 

14.  The  Typographical  punctuation  marks,  used  in  the  ordinary 
print,  are  also  used  with  the  Mathematical  Alphabet  with  the  fol- 
lowing exceptions,  viz :  Hyphen  or  Dash  as  in  2  m :    Ellipsis  as  in 
3  m  :   Parenthesis  as  in  1  k. 

NOTE. — We  have  consulted  the  writings  of  the  following  persons 
in  the  preparation  of  this  work,  viz :  Max  Miiller,  Prof.  Whitney, 
Prof.  March,  Prof.  Philbrick,  Prof.  Bell,  Isaac  Pitman,  Ben.  Pit- 
man, S.  P.  Andrews,  James  E.  Munson,  D.  P.  Lindsley,  E.  C. 
Hoyt,  Noah  Webster,  L.  L.  D.,  and  others.  The  Engravings  in 
Lesson  X  were  executed  by  E.  B.  Parke  of  Chicago,  111. 


INDEX 


Sec.    Rein.    Page. 

INTRODUCTION, 1 

Review  of.  Stenographic  Alphabets,  .  .  3 

Gabelsbergers  Principles,  ....  3 

Phonography,  etc.,  ....  5 

Duploye's  Stenography,  ....  6 

The  new  Stenography,  ....  6 

Illegibility  of  Shaded  Alphabets,  ...  7 

Acknowledgements,  ....  7 

LESSON  I.— Alphabet  of  the  Vowels,  .  .  9 

Lingualized  vowel  signs  and  letters,  .  1  9 

Direction  to  strike  signs,  c  9 

Phonic  method  of  teaching,  ...  1  9 

Primary  Instructions, 2  10 

Position  for  holding  the  pen,  ...  3  10 

Drill  No.  I,  4  11 

Correction  of  Exercises,  etc.,  .  .511 

Labialized  and  Dipthongal  vowel  signs,  .  2  12 

Si/.e  of  vowel  signs,  d  12 

Drill  No.  2,  13 

Classification  of  the  Alphabet,  .  6  13 

Vowel  sounds  in  or,  idea,  studio,  etc.  .  9  15 

LESSON  II.— Alphabet  of  the  Consonants,  .  16 

Labial  consonant  signs,  ....  3  16 

Slanting  upward  signs,  ...  a  16 


Sec.  Kern.  Pa^e 

Size  of  Labial  consonant  signs,  ...  ft  16 

Names  of  consonant  signs,  ...  10  17 

Drill  No.  3,  17 

Deuto-Palutal  consonant  signs,  4  17 

Horizontal  consonant  signs.  c  18 

Size  of  signs  for  general  use,  d  18 

Drill  No.  4,  19 

The  lu  in  both  vowel  and  consonant  scales,  J2  19 

The  Palatal  consonant  signs,  ...  5  19 

Perpendicular  consonant  signs,  e  19 

Size  of  signs  for  //.  /,/.  Ji,  Chi,  Hi,  f  19 

Drill  No.  5, 20 

//  and  Li  signs  interchangeable,  ...  12  20 

Guttural  consonant  signs  and  letters,  .  6  20 

A'/ and  /*•.  and  Och  and  l<-h  interchangeable,  g  20 

Size  ol  Guttural  consonant  signs,  h  21 

General  direction  of  striking  signs,  .  .  13  21 

Diagrams  and  Mnemonic  aids,  .  .  14  21 

Geometric  outlines  of  signs,  ...  15  21 

Mnemonic  aids  for  t,  d,  p-k,  y-b  and  r,  .  16  21 

Analogy  between  sounds  and  signs,  .  .  17  22 

Drill  No.  6, 22 

LESSON  III. — Backward  and  Forward  Motion,  23 

Backward  and  Forward  Motion  Diagrams,  7  23 

Rules  1  and  2  in  Rhyme,  ....  7  23 

Drill  No.  7, a  24 

Drill  No.  8, 6  24 

Drill  No.  9, C  24 

Practice,  speed  and  correction  of  Exercises,  18  25 
Thi.  Ith,  117,  Whi,  Zhi,  Shi,  not  compound 

sounds, 19  25 

Lessons,  their  size,  .....  20  25 

Continuous  Nasals  Ing,  Hi,  Ni,  Mi,  .  .  21  25 
Explosives,  Dividers,  Sibilants,  Coalescents, 

Trilled. 22  26 

Vowel  signs,  assignment  of  signs  for  them,  23  26 

LESSON  IV.— Joined  Vowels  and  Consonants,  27 


96  INDEX. 

Sec.    Rem-    Page. 

Hand  Diagrams  illustrating  Back  and  For- 
ward motion,            8                      27 

Ay  and  Ai  joined  to  perpendiculars  with  a 

hook, a                      27 

E  and  A  joined  to  horizontals  with  a  hook,  a                      27 
Si  and  Ir  interchangeble  and   joined  by  a 

largo  final  hook,        .         ...»  6                        27 

Angle  to  strike  consonant  signs  at,    .  c                       28 

Angle  to  strike  vowel  signs  at,       ...  d                       28 

llules  3,  4,  5,  and  6  in  Rhyme,  e                       28 

A  short-tick  added  to  secure  good  angles,     .  /                      28 

Interchangeable,  Hi,  Ir,  II,  Li,  Och,  and  Ich,  g                      29 

Kcasous  for  making  inter-changeable  signs,  24         29 

The  Yi  and  lu  elements,          ....  25          29 

Equivalents  of  c,  q  and  x,  .  26          29 

Writing  Exercise  I, 30 

Phonic  Heading  Exercise  I,         ...  30 

Writing  Exercise  II,    ......  31 

Phonic  Reading  Exercise  II,       ...  31 

Writing  Exercise  III, 31 

Phonic  Reading  Exercise  III,      ...  32 

LESSON  V.— Angles  and  Curves,        ...  33 

Diagrams  illustrating  Angles  and  Curves,  9                      33 

Variation  of  strokes,      .....  a                      34 

Right  lines,  Facing  and  Opposing  Curves,  b                      34 

Right  Angles, c                       34 

Acute  Angles, d                       34 

Obtuse  Angles,    ........  e                       35 

Same  Curves  repeated,                          .         .  /                       35 
Opposing  and  Facing  Curves  in  the  same 

direction, g                       35 

Opposing  and  Facing  Curves   in   different 

directions, h                       36 

Drill  No.  10,         ......  36 

Facing  Curves,        ......  i                      36 

Drill  No.  11. — Lines  and  Curves  joined,  k                      37 

Laws  of  Motion  modify  speed,       ...  28         38 


INDEX.  !)7 

Sec.  Rcm.  Page. 

Perpendiculars  shorter  than  Slanting  strokes,  29  SB 

How  Curves,  Angles,  etc.  are  modified,  .  30  38 

Shading  in  Ornamental  writing,  .  .  31  38 

Shading  signs  destroy  speed  and  legibility,  32  39 

Frequency  of  easy  junctions  of  Curves,  33  3D 

Doubling  Hi,  Mi,  Ni,  Ing,  ....  34  40 

Rules  7,  8,  9,  10,  and  11  in  Rhyme,  .  .  40 

Writing  Exercise  IV,  ..'...  40 

Phonic  Reading  Exercise  IV,  ...  41 

Writing  Exercise  V,  .....  41 

Phonic  Reading  Exercise  V,  ...  42 

Writing  Exercise  VI,  .....  42 

Phonic  Reading  Exercise  VI,  ...  43 

Writing  Exercise  VII •  43 

Phonic  Reading  Exercise  VII,  ...  44 

LESSON  VI.— Phonic  Analysis,  .  45 

Phonic  Analysis  the  basis  of  Orthography,  10  45 

Analysis  of  Vowel  sounds,  a  46 

Analysis  of  Dipthong  sounds,  ...  ft  47 

Analysis  of  Consonant  sounds,  c  47 

Analysis  of  Double  Consonant  sounds,  d  48 

Terminations  in  il,  el,  cu,  on,  ...  55  48 

LESSON  VII.— Joined  signs,  ....  4» 

Joined  signs,  .11  49 

Signs  written  in  two  directions,  a  49 

Drill  No.  12,  50 

Rules  governing  in  joining  signs,       .         .  36          50 

Phonic  Reading  Exercise  VIII,      ...  51 

Writing  Exercise  VIII,        ....  52 

Phonic  Reading  Exercise  IX,         ...  52 

Writing  Exercise  IX,           ....  53 

Drill  No.  13,             ......  53 

Writing  Exercise  X,  ....  54 

Drill  No.  14,  54 

Writing  Exercise  XI,  ....  55 

Drill  No.  15,  ;  55 

Writing  Exercise  XII,  ....  56; 


SMS  INDEX. 

Sec.    Item-    Page. 

Writing  Exercise  XIII,           ....  56 

Writing  Exercise  XIV,        ....  57 

Writing  Exercise  XV,             ....  57 

Drill  No.  16,         ......  58 

Writing  Exercise  XVI,           .  58 

Writing  Exercise  XVII,      ....  59 

Drill  No.  17, 59 

Writing  Exercise  XVIII,    ....  GO 

Writing  Exercise  XIX,            ....  f>0 

Writing  Exercise  XX,          ....  GO 

LESSON  VIII.— General  Principles,    ...  62 

Lineality  of  Writing,           ....         12  62 

Variable  signs  promote  Lineality,                         a  62 

Writing  Exercise  XXI,        ....  63 

Double  Consonants, 38          63 

Writing  Exercise  XXII,      ....  63 

Assimilation  of  Consonants,          .        .        .  39          64 

Writing  Exercise  XXIII 64 

Vocal  Tlu  and  Aspirate  Ith,  ....  40            64 

Writing  Exereise  XXIV,    ....  64 

Writing  Exercise  XXV,          ....  65 

How  to  use  In  and  Yi  signs,       ...  41           66 

Writing  Exercise  XXVI,        ....  66 

Writing  Exercise  XXVII,  ....  67 

The  lu  sign  when  initial,        ....  42          67 

How  to  use  the  Uu  sign,     ....  42          67 

Writing  Exercise  XXVIII,     ....  68 

How  to  use  Oh  and  Oe  signs,     ...  43         69 

Writing  Exercise  XXIX,         ....  69 

Short  Italian  Aa, 44          70 

Writing  Exercise  XXX,          ....  71 

The  -er  -or  terminations,  etc.,    ...  45          71 
Writing  Exercise  XXXI,        .... 

Writing  Exercise  XXXII,            .         .        .  73 

Phonic  Reading  Exercise  XXXII,.         .        .  73 

LESSON  IX.— Acquirement  of  Speed,     .        .  74 
How  to  acquire  speed  in  writing,           .        .    13 


INDEX.  9ft 

Sec.    Bern.    Page. 

Hoe  Your  Own  Row,  Alice  Cary,  ( Print),  75 

Hoe  Your  Own  Eow,  Alice  Cary,  (Kiografy),  76 

Education,  Phillips,  (Print),        ...  79 

Education,  Phillips,  (Kirografy),       .         .  80 

LESSON  X.— Alphabctics a                      82 

Mathematics  as  a  foundation  for  Alphabetics,  b                      82 

Difference  between  script  and  type  letters,  c                      83 

The  Roman  Alphabetic  Conglomeration,  d                      83 

Dies  for  new  type. e                       83 

The  Mathematical  Alphabet,       ...  84 
The  Mathematical  Alphabet  Key,           .         .  85 
The  Intricacies  of  a  Wheel.Barrow,  (Kirog- 
rafy),            86 

The  Intricacies  of  a  Wheel-Barrow,    ( new 

type), 88 

The  Intricacies  of  a  Wheel-Barrow,  (print),  89 

Sounds  in  Foreign  Languages,  1                       89 

Assignment  of  signs  to  Foreign  Languages,  2                       90 

Modifiers  added  to  signs,         ....  2                        90 

Nasalization  of  Vowel  sounds,  4                        90 

The  Trilled  r  and  I  signs,        ....  5                        90 

The  Hard  and  Soft  Aspirates,  ...  6                        91 

Consonantal  Equivalents,       ....  7                        91 

Mouille  or  Softened  Consonants,  8                       91 

Foreign  Double  Vowels,         ....  9                        91 

German  w  and  Spanish  b,             ...  10                        92 

Diamond  Point  signs,     .....  11                        92 

Zulu  Kalir  Clicks, 12                        93 

All  Modifiers  written  after  signs,           .        .  13                       93 

Punctuation  Marks, 14                        93 

INDEX,  94 


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and  is  devoted  to  a  full  exposition  of  the  Primary  Reporting  Style. 
Part  2,  is  an  Impi'oved  reproduction  of  the  First  Edition  of  the 
"  Second  Stenografik  Teecher; "  and  is  devoted  to  a  full  exposition 
of  the  Reporting  Style.  This  text-book  is  adapted  for  use  in  High 
Schools,  Academies,  and  Colleges,  or  for  Private  Instruction.  It  is 
profusely  illustrated  with  Wood  Engravings,  printed  in  the  best 
manner  on  heavy,  fine  paper,  strongly  bound,  and  a  thorough  treat- 
ise on  the  new  Improved  phonetic  short-hand.  It  will  be  published 
first  in  the  "  Kirografer  and  Stenografer, "  beginning  with  No.  2, 
and  running  through  successive  numbers,  before  being  bound  in 
book  form ;  and  will  contain  about  100  pages.  Price,  Board  bound, 
$1.00. 

TRIPLE  DASH  ELECTROTYPE  CUTS,  size  4  by  8  inches. 
All  ready  mounted  for  printing  Reporting  paper.  Price  for  a  single 
cut  §3.00. 

TRIPLE  DASH  PAPER,  for  pen  reporting,  ruled  light  on  one 
side,  size  4  by  8  inches.  Price  per  hundred  single  sheets  60  cts. 

TRIPLE  DASH  PAPER,  for  pencil  reporting,  ruled  light  on 
one  side,  size  4  by  8  inches.  Price  per  hundred  single  sheets  45  cts. 

Publication  Office,  Amherst,  Mass.,  Lock  Box  43. :  J.  B.  and 
E.  G.  Smith. 

Branch  Publication  Office,  Chicago,  111.,  P.  O.  Box  104,  or  No.  64 
and  56  Madison  St. :  E.  B.  Parke,  with  D.  B.  Cooke  &  Co. 


Kirografik,  Stenografik  and  Phonetic  Publications, 

THE  FIRST  READER. 

Will  be  published  in  regular  serial  installments  until  finished  in  the 
"Kirografer  and  Steuografer,"  beginning  with  No.  2.  It  is  a  Primary 
Reader  for  Children  in  the  new  Mathematical  type-letters.  It  will 
be  published  exclusively  in  new  type  letters.  It  will  contain  about 
25  pages.  Price  25  cts.  in  paper  or  40  cts.  in  board. 

HALF  PRICE  BOOKS.— There  are  a  few  copies  left  of  the  first 
edition  of  the  "Kirografik  Teecher,  "  "  First  Stenogratlk  Teecher,  " 
and  "Second  Steuografik  Teecher,"  which  which  will  be  sold  as 
mementoes  of  the  infancy  of  the  system,  for  less  than  half  price, 
or  10  cts.  per  copy. 

HOW  TO  MAKE  THE  ENGLISH  LANGUAGE   SCIENTIFIC 
AND   UNIVERSAL  (in  preparation). 

It  will  follow  the  "Dictionary"  in  the  "Kirografer  and  Stenogra- 
fer."  It  is  an  original  application  of  scientliic  principles  to  the 
improvement  of  the  English  Language.  Price  bound  in  paper  25  cts. 


REPORTING  COVERS,  to  hold  the  reporting  paper,  when  tak- 
ing notes.  Leather  with  Elastic  bauds,  size  suitable  for  4  by  8  inch 
paper.  Price  §1.00. 

CARTE  DE  VISITE,  with  Autograph  in  the  new  Kirografy,  of 
John  Brown  Smith,  inventor  of  the  new  Stenografy.  Price  50  cts. 

STATIONERY,  Etc.  All  kinds  of  stationary,  reporting  pencils, 
steel  pens,  gold  pens,  and  other  material  required  by  Reporters, 
will  be  furnished  at  retail  and  wholsale  prices  when  desired. 

CIRCULARS  AND  POSTERS,  adapted  for  use  by  teachers  and 
lecturers  on  Short-hand  and  Phonetics,  will  be  furnished  at  retail 
and  wholesale  prices. 

THE  WHOLESALE  PRICE,  to  teachers,  agents,  clubs,  and 
others,  who  order  a  dozen  or  more  copies  or  packages,  of  any 
one  of  the  Magazines,  Books,  Cuts,  etc.,  is  a  discount  of  one  third 
off  retail  prices. 

ALL  ORDERS  AT  RETAIL  PRICES,  will  be  sent  free,  per 
mail  or  express,  to  any  part  of  the  country. 

Publication  Office,  Amherst,  Mass.,  Lock  Box  43. :  J.  B.  and 
E.  G.  Smith. 

Branch  Publication  Office,  Chicago,  111.,  P.  O.  Box  104,  or  No. 
64  and  5G  Madison  St. :  E.  B.  Parke,  with  D.  B.  Cooke  &  Co. 


Los  Angeles 
This  book  is  DUE  on  the  last  date  stamped  below. 


Form  L9-25/n-9,'47(A5618)i44 


UNIVERSITY  01 

AT 
LOS  ANGELES 


A     000  571  355     7 


1878 


m 


OPINIONS   OF  TILF,    IMiFSS. 


From  the  Manchester,  X.  II.,  Daily  Union :   Which  we  judge  to 
ry  useful  hook. 

From  the  St.  Joseph.  .Mo.,  Daily  Herald  :    We  arc.1  glad  to  s< 
new  and  handsomely  printed  pamphlet.     It  is  one  more  indication 
of  the  linn  hold  the  improved  system  of  spelling,  writing  and  print- 
ing lias  taken  of  the  public  mind. 

From  the  Bolckow.  Mo.,  Weekly  Enterprise  :  This  is  a  valuable 
little  book  and  everybody  should  have  a  copy,  as  yon  can,  by  its 
instructions,  soon  learn  the  system  of  short-hand  writing. 

From  tin;  New  JBrunsu  i.-k.  X.  J.,  Daily  Fredonian.  In  Air.  Linds- 
ley's  Tachygraphy  as  in  all  phonetic  short -hand  sy 

i.ni  of  two  distinct  consonant  sounds  d< 

sign,  that,  is.  the  saim>  character  thai-  stands  !'<•  0  for  // 

the  latter  being  shaded  a  little  heavier  than  the  former,  a 
not  easily  made  in  rapid  writing.    Jonx  Bitmvx  SMITH,  of  Am 
Mass.,  has  jnst  issued   a    new   system    of  short-hand,    designated 
Stenography,  in  which  he  claims  to  overcome  the  last  named  • 
lion  to  Phonography,  by  giving  a  sign  for  every  sound  in  our  lan- 
guage.    Such  a  system  made  practical,   is  (he  desideratum  of  all 
short-hand  writers,   professional  reporters  especially;  and   if  Mr. 
Smith  has  succeeded  in  this  hitherto   unaccomplished  object,  he   is 
entitled  to  the  gratitude  of  the  report orial  profession. 

Sometime   ago   we  referred   to  John    Brown  Smith's  system  of 

short-hand,   in  which   he   discards    I'itman's  principle  of    pairs    of 

signs,   differently  shaded,  for   pairs    of  sounds,  and  establishes   a 

distinct  sign  for  each  sound  in  the  language.     In    this   particular, 

dt  Ii's  system,  which  claims  t.o  be  phonetic   in  its  character, 

ni  advantage  over  Pitman's   Phonography  ami  Lindsley's 

Tachygraphy :   since  to  the  beginn.  •)•,  the    learning  of   a  few  extra 

has    no   comparison    t.o    the    .  haded 

characters. 

From  the  Buffalo  Sunday  Xews  :     These  \vorks  are  neatly  u 
up  and  are  profusely  illustrated  with   short-hand.     They   ai 
signed  as  elementary  aids   in  a  course  of  new  Stenography,  to  re- 
place the  present  systems  of  Pitman,  (iraham,  and  Miinson.     From 
a  careful  examination  of  the  works,    our  Stenographer  e,xp: 
the  o[)iiiioii  that  there  is  considerable  in  the  system. 

:i  the  Dennison,  Texas.  Daily  News:     The  author  has   •_ 
the  subject  of  brief  writing  much  thought,  and  his  inventions,  or 
discoveries,  which  are  incorporated  in  this  original  system,  are  de- 
cidedly new,  and  cannot  fail  to  attract    attention.     *     * 
the  student  of  Stenography  in  general,  the  series  of  works  of  which 
the  one  before  us  is  the  last,  oilers   a  new  field  of  research,  in   con- 
tractions, expedients,  etc.,  the  object  of  which  is  "Teat  speed,  with 
perfect  legibility— the  aim  of  all  Stenographic  authors  and  prac- 
titioners. 

From  Prof.   Dr.   /ichig's   jjit'rui.tir — Til < tit  (Royal   Stenographic 
Institute)    Dresden,  Germany:     So  much  is  certain,  thi- 
StetiQgrkphy  is  radically  new,  and-  a  dillerent  creation,  altogether, 
from  the  other  English  methods. 


